Maison Ikkoku
                          ~~~~~~~~~~~~~
       Deluxe Manga Translation -- with Annotations and Commentary

        -= Multilingual : Japanese, English, French, Esperanto =-

      Volume 8, Part 1, of the Normal Width Japanese Compilations, or
          Volume 5, Part 11, of the Wideban Japanese Compilations

                   Chapter Title:  TOUJISHAtachi
                                 <Healing Bathers>  ...  English
                                 <Les Curistes>  ...  Francais
                                 <Sanbananoj>  ...  Esperanta

       Release 1: 94.03.17

 `Once again, readability has been thrown out in favor of excessive details.'

Translates from Volume 8's cover page to the end of "TOUJISHAtachi" (page24).

Maison Ikkoku is Copyright 1994 by Rumiko TAKAHASHI and Shogakukan Publishing.

This document is Copyright 1994 by the Misery Loves Company.

   Definition:
      "Deluxe Manga Translation" is my term for a translation that goes
       way beyond being merely adequate. To create a "deluxe" translation,
       start from scratch with all the original dialogue and sound effects.
       Mix liberally with scene and action descriptions. Then slowly stir
       in the translation, sometimes including multiple renditions to show
       different nuances. Next, throw in delicious chunks of annotations
       and comments about anything that strikes your fancy. Finally, the
       spices come in the form of totally gratuitous details and notes. The
       key to success is in the knowledge that having a great many cooks
       actually improves the broth. Bon appe'tit!

Distribute this document freely for non-commercial purposes and without
charge. This document may be distributed provided it is copied with
absolutely NO modifications (this includes reformatting of the text).

     This document's official filename is "mi-v8-1.r1.txt".
     It is a part of the Maison Ikkoku Guidebook File Library.

     Please refer to the English MI Guidebook for a list of the
     other files that are part of this File Library.

     The Deluxe Translations and the Guidebooks are available on the
     venice.mps.ohio-state.edu FTP site in the Maison Ikkoku file hierarchy.
     Please upload these documents to other file archives.  

I would appreciate getting suggestions, comments, insights,
       more annotations, endnotes, and corrections.
If you would like to help us with a future translation,
       that's even better.
Send e-mail to the compiler, Glenn Tarigan, at "tarigan@sfu.ca".

If you can help with the MI Guidebook, please e-mail the Project Coordinator,
      who also happens to be Glenn Tarigan <tarigan@sfu.ca>.

Finally, there is a Maison Ikkoku Mailing List that I am maintaining.
     This mailing list was started on 94.02.21 and is fairly active.
     If you would like to subscribe to it, send a polite request to me;
     make sure you include your full name and e-mail address.

NOTE: Treat this document like an ASCII graphic. Your screen font must be
      non-proportional or else the spacing will be ruined.

------------------------------------------------------------------------------

Contents:
~~~~~~~~
  Credits
  Introduction
  Conventions
  Simple Dialogue:
     Esperanto Version
     English Version
     French Version
     Japanese Version
  Annotated English Translation
  Wideban Supplemental Information
  Additional Notes
  Bibliography
  Identification Keys
  Revision Notes

------------------------------------------------------------------------------

Credits:
~~~~~~~
This Deluxe Manga Translation was compiled and edited by:
   Glenn Tarigan <tarigan@sfu.ca>
          - From Coquitlam, British Columbia (Canada) = 49.2'N 122.5'W
          - Proud owner of 60% of the normal compilation volumes.
       Responsible for the formatting, lots of proofreading, corresponding
       with most of the people involved, and a few other things.

Translation, annotations, comments, and other contributions by:

   Sylvain Rheault <rheault@ERE.UMontreal.CA>
          - From Montreal, Quebec (Canada) = 45.3'N 73.3'W
          - Owns the wideban set.
       Sylvain basically provided the initial translation for the entire
       chapter. From his draft translation, we worked together to refine it
       into a more natural or better sounding English.

   Kanaya Takehiro <kanayat@ERE.UMontreal.CA>
          - From Montreal, Quebec (Canada) = 45.3'N 73.3'W
          - Borrowed Sylvain's wideban set.
       Contributed annotations and translation help.

   ITO Takayuki <yuki@is.s.u-tokyo.ac.jp>
          - From Tokyo (Japan) = 35.4'N 139.3'E
          - Does not have the manga for reference, but has read it before.
       Contributed annotations and translation help.

   Robert Carragher <carraghe@cs.ucsd.edu>
          - La Jolla, California (USA) = 32.51'N 117.16'W
          - Owns all the normal width compilation volumes.
       Contributed annotations and descriptions.

   Jeff Williamson <jeff@casbah.acns.nwu.edu>
          - From Chicago, Illinois (USA) = 41.5'N 87.4'W
          - Owns 66 2/3% of the normal width volumes of MI.
       Contributed annotations and translation help.

   Harold Melanson <hgm@aspen.cray.com>
          - From Minneapolis, Minnesota (USA) = 44.6'N 93.2'W
          - Owns all the normal width compilation volumes.
       Added scene descriptions for pages 18 to 24, and other annotations.

   Mark Erdman <rn.3902@rose.com>
          - From Geneseo, Illinois (USA) = 41.3'N 90.1'W
          - Owns wideban volumes 1 and 2.
       Contributed annotations and translation help.

   Michael Liu <ae660@Freenet.carleton.ca>
          - From Ottawa, Ontario (Canada) = 45.2'N 75.4'W
          - Owns full set of Chinese MI translations.
       Contributed annotations and translation help.

   Andy Johnson <aej@cs.wayne.edu>
          - From Detroit, Michigan (USA) = 42.2'N 83.0'W
          - Owns BOTH the wideban and the normal width series.
       Contributed annotations and translation help.

   Andy West <andywest@delphi.com>
          - From Fairmount, Indiana (USA) = 40.2'N 85.4'W
       Esperantist consultant.

   Ken Elescor <cao_o@epita.fr>
          - From France...
       French proofreader.

   Kanagawa Fumiko (no Internet address; acquaintance of Sylvain)
          - From Montreal, Quebec (Canada) = 45.3'N 73.3'W
       Contributed annotations and translation help.

   Vickie West <vickiewest@delphi.com>
          - From Fairmount, Indiana (USA) = 40.2'N 85.4'W
          - Owns some Viz English translations of MI.
       Contributed annotations.

   William Jang (no Internet address)
          - From Vancouver, British Columbia (Canada) = 49.2'N 122.6'W
          - Co-sysop of Arctic Animation's "Prototype BBS" (604-254-1833)
       Contributed one note.

   David Oakey (no Internet address)
          - Somewhere in Japan.
          - Has full set of wideban volumes.
       I inserted a comment he made before we lost contact.
       I hope he regains his e-mail account soon.

   C Sue Shambaugh <71231.2141@compuserve.com>
          - From Clinton, Maryland (USA) = 38.4'N 76.5'W
          - Owns all the normal width compilation volumes.
       Contributed one note.

Here are a few Esperantists with whom I had a small discussion about
"Rock, Scissors, Paper". See Additional Notes: Janken.
(I translated their responses from Esperanto into English):

   Ivo Bouwmans <ivo@dutw239.tudelft.nl>

   Edmund Grimley Evans <Edmund.Grimley-Evans@cl.cam.ac.uk>

   Daniel Chung <dchung@gateway.efi.com>

   Pierre Jelenc <rcpj@panix.com>

   Jorge LLambias <jorge@venus.phyast.pitt.edu>

------------------------------------------------------------------------------

Introduction from the compiler:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
     This is my second ever Japanese-to-English translation. As usual, I
     cannot take credit for doing most of the translation.  ;)

     In the introductory notes to my first translation (v3,1) I said the
     next chapter I work on would be one in which Godai and Kyoko do more
     interesting things with each other. So here is the chapter I finally
     decided upon. I admit that hentai tendencies influenced my decision. ^_^
                                                                           
     This is one of my most favorite stories, in both the anime and the
     manga versions. Coincidentally, it is also the first chapter of a
     volume; so this translation has a few things in common with the
     previous one I worked on.

       Liu-san says: Interestingly enough, you picked one of the MI stories
          which I consider as a throwaway (i.e., nothing ever happens) to
          translate. :)

     What's also great about this chapter is that it is very fertile ground
     for annotating. Like Vol3,1 (the New Year's Eve story), this chapter
     has many traditional Japanese themes.

     So in the tradition of way overboard and indiscriminate annotating,
     let's go!

------------------------------------------------------------------------------

Conventions:
~~~~~~~~~~~
     (The following conventions are in abbreviated form;
      see mi-v3-1.r1.txt for a verbose description.)

(....) = A character's thoughts         78 hyphens = Section separator
<....> = Definitions/translations       60 hyphens = Center page-break
[....] = Descriptions/annotations       60 equals signs = Outside edge
{....} = Comments                                         of a page
(x)    = Endnotes                       `Voice' = Off-panel speaker

UPPERCASE TEXT = Kanji                  _...._ = Furigana

lowercase text = Hiragana               #....# = Roman letters
____
.... or [....] = Katakana               `....' = Kana sound effects

--          = Single vowel extension    _ (one underscore) = Small `tsu'
--- or more = Longer vowel extension
~~ or more  = Squiggly-line vowel       ' or -  = Separates some
              extension                           kanji compounds

Sylvain-san: Within some sentences, the words I put in brackets [xxx] are
     necessary to make a complete sentence in English but do not appear in
     the text in Japanese.

Tarigan: Those same brackets are also sometimes used to indicate optional
     words: words that aren't needed to make a complete English sentence,
     but might make it sound better. 

______________________________________________________________________________
//////////////////////////////////////////////////////////////////////////////
------------------------------------------------------------------------------

Simple Dialogue:
~~~~~~~~~~~~~~~
     For the next dozens of pages you will be able to read versions of the
     dialogue in Esperanto, English, French, and Japanese. These are
     resumes -- they will tell you the basic story. After reading these
     resumes, you can try tackling the insanely detailed annotated
     version (English/Japanese only) in the following section.

     The translations shown here are what at least one of us believes to be
     the best choice for one set of preferences. The annotated version
     gives you multiple choices for some lines, leaving you to decide which
     translation you prefer.

------------------------------------------------------------------------------

Notes About Esperanto:
---------------------
   Pri la Esperanta versio:
     Tradukis Glenn Tarigan
           Helpis Andy West

English help notes:
 Here is a short pronunciation guide to the Esperanto alphabet:
   (Note: The letter `x' represents an accent: a circumflex for all the
          accentable letters, except for u, which receives a breve.)

     a  as in father                    jx equals the `s' as in `leisure'
     b  as in bag                       k  as in kettle
     c  equals `ts' in wits             l  as in lint
     cx equals `ch',                    m  as in mother
            as in chicken               n  as in nine
     d  as in dog                       o  as in oval
     e  as in elephant                  p  as in penny
     f  as in fan                       r  as in rat
     g  as in good                      s  as in super
     gx equals `j', as in joy           sx equals `sh', as in `shuttle'
     h  as in hello                     t  as in tail
     hx equals `ch' as                  u  `oo', as in food
            in `bach' or `loch'         ux equals `w', as in `aw'
     i  equals `ee', as in feed         v  as in vessel
     j  equals `y', like `yoke'         z  as in zebra

Konvencioj por Akcentoj:
     cx = cxarlie ~= charlie
     gx = gxojas  ~= ghojas
     hx = hxaoso  ~= kaoso
     jx = jxaluzo ~= jhaluzo
     sx = sxak    ~= shak
     ux = baux    ~= bau

------------------------------------------------------------------------------
p2
Enhavoj:                           Contents:
 Parto  Titolo                       Part  Title
 -----  ------                       ----  -----
  1     Sanbananoj                   1     Healing Bathers
  2     Handling It With a Suit      2     Handling It With a Suit
  3     La Vizagxo en la Mallumo     3     The Face in the Dark
  4     Printempa Tombo              4     Spring Grave
  5     Ni Kunlogxu                  5     Let's Live Together
  6     Atako k Evito                6     Jab & Dodge
  7     Esti en Paco                 7     About Being on Good Terms
  8     Ecx Malsekigita per Pluvo    8     Even Drenched With Rain
  9     Trosentemeta                 9     Nerves Overworn
  10    Estas Nenio                  10    It's Nothing
  11    Mixada Ulo                   11    Scramble Kid


                     "TOUJISHAtachi"

     Esperanto                          English
     ---------                          -------
  Titolo:  Sanbananoj              Title: Healing Bathers
           
p6/PW236

  Letero de Avino:                 Letter from Granny:

     Kara Yuhsaku:                    Dear Yuhsaku:

       Kiel fartas via                   How's your leg?
     kruro?
                                         Even given the
       Ecx malgraux la                problems caused when
     problemoj kauxzitaj              you broke your bone
     kiam via kruro                   this time, you have
     rompigxis, vi devas              to admit that the
     konfesi ke la                    people at Ikkoku-kan
     Ikkoku-anoj ja                   did take care of
     privartis vin.                   you.

  Godai: Ne veeeere.               Godai: Not reaaally.
                                      
     (Avino dauxras...)               (the letter
     Iru al la onsen. Gxi             continues...) Go to
     tauxgas esti                     the hot springs. It
     plisanigilo kaj                  will serve as both a
     modesta rekompenco               treatment and a
     por la doloro kiun               modest reward for
     vi eltenis.                      the pain you
                                      endured.
       Cele al tio, mi
     enkovertigas mian                   For that purpose,
     sekretan kasxon.                 I here enclose my
                                      secret savings.
           Via Avino.
                                         Your Grandmother.

  Ichinose: Ooh, jen jen.          Ichinose: Ooh, there it
                                      is, there it is.

  Ryokan-estro: Bonvenon.          Ryokan dude: Welcome.
     Cxu estas pakaxjoj?              Do you have any
                                      luggage?

  Ichinose: Gxi baldaux            Ichinose: It'll be
     alvenos.                         here soon.

  Akemi: Kion diable li            Akemi: What the heck is
     faras?                           he doing?

  Kyoko: Mi kontrolos.             Kyoko: I'll go look.

  Mitaka: Otonashi-san,            Mitaka: Otonashi-san,
     ne maltrankvilu pri              please, go up first.
     tio, kaj antauxeniru.

------------------------------------------------------------
p7/PW237

  Godai: (Damne...)                Godai: (Damn it...)

     (Mi pli bone ne iru              (I shouldn't have
     al la onsen....)                 come to the hot
                                      springs.....)

  Mitaka: Kio?                     Mitaka: What?
                                      
     Vi ankoraux estas                You're still 
     cxi tie?                         back here?

     Vi ne havas iun ajn              You don't have any
     forton, cxu ne?                  strength, do you?
     "'

  Godai: (Bedauxrinde,             Godai: (In addition,                    `~
     iu malbezonata                   someone who has no
     kuniris...)                      business here came
                                      along......)

  Mitaka: Ne                       Mitaka:
     maltrankvilu, mi                 Hang in there. I'm                   =;
     eskortas vin.                    here now to escort you.

  Godai: Anstataux                 Godai: Instead of
     eskorti, kial ne                 escorting me, how
     portu kelke da                   about carrying some
     pakajxoj!?                       luggage!

  Godai: Cxu vi ne sentas          Godai: You could show a little          =;
     kompaton por la                  sympathy for somebody who
     vundito?                         just got out of the hospital!

  Ichinose: Estas via              Ichinose: It's your own                 `~
     kulpo ke vi                      fault if you're no
     malsukcesadas en                 good at janken!
     Jxanken.

  Mitaka: Cxiuokaze, cxi           Mitaka: At any rate,
     tio certe estas                  this is a dirty
     malpura cxambro, cxu             room, isn't it?
     ne?
                                   
  Godai: Stranga...                Godai: That's strange...

     Cxu ni ne havis                  Didn't we have
     suficxe da mono por              enough money to get
     pli bona cxambro?                a better room?

  Kyoko: Ho...                     Kyoko: Oh...

============================================================
p8/PW238

  Kyoko: Se iu volus               Kyoko: If someone
     trairacxi... la                  thinks about
     intermuro estas nur              breaking in.....
     papero.                          the divisions of the
                                      rooms only consist
                                      of one sheet of
                                      paper.

  Ichinose: Wa ha ha ha            Ichinose: Wa ha ha ha

  Godai: Kion vi faris             Godai: What did you do
     kun la mono?!                    with the money?

  Ichinose: Ni kromuzis            Ichinose: We saved it                   `~
     gxin por la festo                for tonight's party.
     vespera. "'

  Kyoko: Mi vidas...               Kyoko: So that's why......
                                      
     Mi ja devis prizorgi             I knew I should have                 =;
     la bugxeton.                     taken care of the
                                      budget...

  Ichinose: Ne                     Ichinose: Don't worry,
     maltrankvilu, ne                        don't worry.
     maltrankvilu.

  Ichinose: Nu, ni banu            Ichinose: Well, let's                   =;
     antaux vespermangxo.             have a bath before
                                      dinner.

  Akemi: Ja ja, kaj la             Akemi: Yes, yes, and
     bano estas la sola               the bath is also the
     senpagajxo cxi tie.              only thing we can
                                      use freely.

  Yotsuya: Cxiuokaze, ni           Yotsuya: In that case,                  =;
     kuniru. "'                       we shall also.

  Godai: Bonideo...                Godai: Good idea...                     `~

     Mi tute                          I'm drenched with                    `~
     sxvitigxis.                      sweat.

  Godai: fu--                      Godai: fu--

------------------------------------------------------------
p9/PW239

  Godai: (Estas bona               Godai: (This does feel                  =;
     sento. Mi felicxas               good. I'm glad
     ke mi iris...)                   I came.........)

  Mitaka: Kion S-ro                Mitaka: What's Mr. Yotsuya              `~
     Yotsuya faras?                   up to?

  Godai: Yotsuya-san,              Godai: Yotsuya-san,
     cxesu tion!                      stop that!

     Ni ne alvenis por                We didn't come all
     spionacxi....                    this way to
                                      peep......

  Yotsuya: Oh!                     Yotsuya: Oh!
                                   
  Yotsuya: Godai-kun,              Yotsuya: Godai-kun,
     Godai-kun, aliru,                Godai-kun, come
     aliru.                           here, come here.

  Godai: Eh?                       Godai: Eh?

  Godai: Kio okazas?               Godai: Wh- what is it?

============================================================
p10/PW240

  Yotsuya: Cxi tie.                Yotsuya: Hey.                           `~
     Rigardu...                       Look Here......

  Godai: Eh.                       Godai: Eh.

     ?                                ?

  Godai: Mi vidas                  Godai: I- I don't see                   `~
     nenion...                        anything......

  Yotsuya: Cxi tie.                Yotsuya: Here. Look
     Rigardu cxi tie.                 here.

  Yotsuya: Cxu vi ne               Yotsuya: Don't you see?
     vidas? Musko                     Moss is growing.
     kreskas.

  Godai: Pri kio vi                Godai: What was that
     parolas?!                        all about?!

  Yotsuya: Kion vi volis?          Yotsuya: What were you
                                      expecting to see?

  Kyoko: Aah, bona sento.          Kyoko: Ahh, feels good.                 `~

  Akemi: Kanrinin-san,             Akemi: Kanrinin-san,
     cxu ni lavu la                   how about scrubbing
     dorson reciproke?                each other's back?

  Kyoko: Ni faru tion, mi          Kyoko: Would you, please?               =;
     petas.

------------------------------------------------------------
p11/PW241

  Yotsuya: Tre bona, cxu           Yotsuya: Isn't that
     ne? Virinoj belas.               great. Women are
                                      gorgeous.

  Godai: Denove! Cxu vi            Godai: Again! What kind                 =;
     estas trito?!                    of water lizard are
                                      you?!

  Mitaka: Godai-kun, vi            Mitaka: Godai-kun, you're               =;
     ne rajtas riprocxi               in no position to
     lin.                             criticize him.

  Yotsuya: Tre veeere,             Yotsuya: Reeally,
     cxiuuu volas spioni.             eeeveryone wants to
                                      peek.

  Mitaka: Mi ja diras,             Mitaka: I'm telling you
     spioni ne estas                  this once and for
     flankokupo mia.                  all: peeping is no
                                      hobby of mine.

  Yotsuya: Cxu vere?               Yotsuya: Is that so?

  Akemi: Kanrinin-san, vi          Akemi: Kanrinin-san,
     havas bonan hauxton.             you have nice skin.

  Kyoko: Vere?                     Kyoko: Really?

  Ichinose: Vere. Se vi            Ichinose: Really. If
     nur ekvolis...                   you just want
                                      to......

  Akemi: Kun viaj mamoj            Akemi: With breasts
     vi povas preteksti               like yours, you could
     esti junulino.                   pass for a teenager.

  Kyoko: Kion vi diras?!           Kyoko: Oh, come on!                     =;

  Godai: .........                 Godai: .........
         .........                        .........

  Yotsuya: Oh!                     Yotsuya: Oh!
                                   
============================================================
p12/PW242

  Godai: Kio okazas?!              Godai: What is it?!

  Yotsuya: Mi ekmemoris            Yotsuya: I just
     ion gravan.                      remembered something
                                      important.

  Yotsuya: Estas ebleco            Yotsuya: There is the                   =;
     ke la banujoj estas              possibility that
     ligataj subakve.                 both baths might be
                                      connected underwater.
                                      
  Godai: Momenton,                 Godai: Wa, wait
     Yotsuya-san...                   Yotsuya-san...

  Mitaka: N- Ne! Mi ne             Mitaka: N- no! I can't
     permesos lin spioni              let him peep from
     de sube!                         below!

  Godai: Cxesu tion,               Godai: Stop it,
     Yotsuya-san!!                    Yotsuya-san!!
                                   
  Yotsuya: Mi cedas.               Yotsuya: It won't do.                   `~

     La trairo estas tro              The opening is too
     malgranda.                       small.

  Kentaro: Kie estas               Kentaro: Where's
     Godai-no-oniichan?               Godai-no-oniichan?

  Yotsuya: Almenaux lia            Yotsuya: His LEG is                     `~
     kruro estas cxi tie.             here.

------------------------------------------------------------
p13/PW243

  Godai: (Ne... povas...           Godai: (Can't... get
     eliri...!)                       out...!)

  Ichinose: Ahh, tio               Ichinose: Ahh, that was
     estis bona bano.                 a nice bath.

  Ichinose: Kio okazas             Ichinose: What's up
     cxe Godai-kun?                   with Godai-kun?

  Kentaro: Li dronis en            Kentaro: He drowned in
     la bano.                         the bath.

  Akemi: Kia stultulo.             Akemi: What an idiot.

  Godai: (Estis stulta             Godai: (I shouldn't
     decido... iri al la              have gone... to the
     onsen...)                        hot springs......)

  Godai: Nur unu                   Godai: Only one clam?
     tridakno?

  Mitaka: Estas mia                Mitaka: Is it just                      =;
     suspekto... cxu                  me... or is dinner
     vespermangxo estas               a bit sparse?
     iom eta?

  Ichinose: Vi pravas.             Ichinose: Your feeling
                                      is correct.

  Yotsuya: Sed dank' al            Yotsuya: But thanks to
     tio, estigxis multe              that we've got
     da mono por                      plenty of money for
     drinkajxo. "'                    the drinks.

  Cxiuj la festuloj:               The Loon Squad:
     Je via sano! "'                  Cheers!

============================================================
p14/PW244

  Kyoko: .........                 Kyoko: .........

  Ichinose:                        Ichinose:
     WA HA HA HA HA HA                WA HA HA HA HA HA

  Kyoko: Mi ne sentas ke           Kyoko: Somehow I                        `~
     mi iris al alia                  don't feel at all
     loko...                          like I've come to
                                      another place.

  Godai: Ja jes.                   Godai: You said it.                     =;

  Godai: (...tamen...)             Godai: (...still...)

  Godai: (Sxi aspektas             Godai: (She looks sexy
     seksalloga en sxia               in her yukata.....)
     yukata.....)

  Ek al tagrevo!                   Daydream mode on!

  Kyoko: Ahh, mi tro               Kyoko: Ahh, I drank a
     drinkis.                         bit too much.

  Godai: Kia malbono!              Godai: That's awful!

  Godai: Kial ni ne iru            Godai: Why don't we go
     ien pli kvieta?                  someplace quieter?

     ne.                              ne.

     NE.                              NE.

    *NE*.                            *NE.*

------------------------------------------------------------
p15/PW245

  Kyoko: Kie ni estas?             Kyoko: Where are we?

  Godai: Cxi tie estas...          Godai: This is.........

  Godai: La FUTON KAMERO.          Godai: The FUTON CLOSET.
                                      
  Kyoko: Uxaa, ne                  Kyoko: Wow, no wonder
     surprizas ke                     this place is quiet.
     cxi-loko tiel
     kvietas.

  Godai: Kyoko-san.                Godai: Kyoko-san.

  Kyoko: Godai-san.                Kyoko: Godai-san

  Ili cxirkauxpremas               The embrace, and drop
  unu la alian, kaj                to the floor...
  alplankigxas...

  Ek al la realo!                  Daydream mode off!

  Godai amindumas                  Godai ends up making
  sian bierbotelon.                love to his beer
                                   bottle.

  Mitaka: Kial ni ne iru           Mitaka: Why don't we go
     ien pli kvieta?                  someplace quieter?

  Kyoko: haa.                      Kyoko: Well...

  Godai: ha_.                      Godai: Eh?!

  Godai: Kanrinin-san, ne          Godai: Kanrinin-san,
     estu trompata per                don't be taken in by
     liaj trompajxoj.                 his glib talk.

  Godai: Cxiuokaze, li             Godai: He probably                      `~
     volas enirigi vin en             intends to bring you
     la futon kameron. "'             into the futon closet.

  Mitaka: La futon                 Mitaka: The futon
     kameron?!                        closet?!

     Kia malbona imagajxo             You have no                          =;
     via!                             imagination!

  Ichinose: Ili komencis           Ichinose: They've
     *denove*.                        started *again*.

  Yotsuya: Vi du faras la          Yotsuya: You guys do
     samajxon sencxese,               the same same things
     cxu ne?                          all the time, don't
                                      you?

  Akemi: Kia vero. Vi ne           Akemi: Really, you're not               =;
     estas en sento por               in the right mood for 
     esti cxe onsen.                  the hot springs.


  Godai: Cxu vi povas              Godai: Look who's talking!              =;
     same senkulpigi?!

============================================================
p16/PW246

  Akemi: Oj oj,                    Akemi: Come on,
     Mitaka-san, ni                   Mitaka-san, let's
     drinku, ni drinku!               drink, let's drink!

  Mitaka: Er... via                Mitaka: Uh... your
     antauxajxo nudas...              front is showing......

  Akemi: Cxu vi felicxas,          Akemi: Are you happy,
     Godai-kun?                       Godai-kun?

  Godai: Rapide                    Godai: Close it up
     surkovrigxu! "'                  fast!

  `WA HA HA HA',                   `WA HA HA HA',
  Ichinose ridas dum...             Ichinose laughs as...

  `BARI_', sxi ebrie               `BARI_', she drunkenly
  kolizias malantauxen al           slams backwards into
  la papera intermuro.              the dividing paper-door.

  Kyoko: Ahx!                      Kyoko: Ack!
     Ichinose-san, la                 Ichinose-san, the
     fusuma......!                    fusuma......!

  Kentaro: Jaah, vi                Kentaro: Yup, you                       =;
     rompis gxin...                   broke it...

  `Wa ha ha', Ichinose             `Wa ha ha', Ichinose
  sidigxas, ridante.                sits down, laughing.

  Yotsuya: Sxia pezo               Yotsuya: A victory for                  `~
     venkis.                          her weight.

  Kyoko: Mi supozas, ke            Kyoko: Guess it can't
     ni ne povas malhelpi             be helped. Sigh...
     tion. Haa... "'

  Kyoko: (Kia malbonajxo.          Kyoko: (This can't be. If
     Se mi ne pririgardos             I don't stand guard
     ilin la tutan                    all night long...)
     nokton...)

  `WA Ha ha ha', Ichinose          `WA Ha ha ha', Ichinose
  dauxrigas la dancadon.            continues her dancing.
  Dum Akemi ankoraux                While Akemi is still
  festas, Kentaro jam               partying, Kentaro is
  dormas, kaj Kyoko mem             already sleeping and
  Aspektas dormema.                 Kyoko looks sleepy
                                    herself.

------------------------------------------------------------
p17/PW247

  Ichinose: Kio cxi?               Ichinose: What is this?

     Cxiu estas tiel                  Everybody's so
     malordema...                     sloppy...

  Ichinose: Nu. Ho ve...           Ichinose: Oh well.
                                      Sheesh...

  Ichinose: Kanrinin-san,          Ichinose: Kanrinin-san,
     vi ekmalvarmumigxos.             you'll catch a cold.

============================================================
p18/PW248
  
  Godai: Uf!                       Godai: Oof!

  Godai: ...ne gxenu               Godai: ...leave me
     min...                           alooone......

------------------------------------------------------------
p19/PW249

  Godai: (Kyo...                   Godai: (Kyo...
     Kyoko-san......)                 Kyoko-san......)

  Godai: (Cxi tio ne               Godai: (This isn't a
     estas songxo...                  dream... is it...?)
     cxu...?)

  Godai: (Cxiu alia                Godai: (Everybody else                  =;
     dormas...)                       is asleep....)

  Godai: (Cxiuokaze, cxi           Godai: (A- at any rate,                 `~
     tio ne estas bona                I can't make it in
     pozicio.) "'                     my position.)

     (Ial, mi devas                   (One way or another,
     alproksimigxi                    I must reach her
     sxin......)                      body......)

============================================================
p20/PW250

  Godai: (Damne......)             Godai: (Sh- shoot.........)

     (Mi misturnigxis.)               (I rotated the wrong way.)

  Godai: (Sed... se mi             Godai: (Even if                         `~
     movigxus cxi                      I move this
     tiel......)                       way.........)

  Godai: (Cxi tiel mi              Godai: (Like this I
     cxiam estos je la                will always be on
     misa flanko......)               the wrong
                                      side......)

  Godai: (B- Bonos se mi           Godai: (It, It will be
     movigxos cxi tiel.)              fine if I do like
                                      this.)
     (Mi estas stultulo.)  "'

  `goron', sed nun Kyoko           `goron', but now Kyoko
  ruligxas tiel ke sxi              rolls over so she's
  frontas for de li                 facing away from him
  denove.                           again.

  Kyoko: U--n.                     Kyoko: U--n.

  Godai: A...                      Godai: A...

  Ho ve! Kyoko forruligxas.        Ooops! Kyoko is rolling
                                   away.

  Godai: (Kia kruela               Godai: (This can't
     sorto......)                     happen......)

     (Mi klopodis tiel                (I tried so hard.)
     multe...)

  Godai: (Returnigxu al            Godai: (Turn back to                    `~
     mi, mi petas.)                   me pleeease.)

  Kyoko: U--n.........             Kyoko: U--n.........

  Kyoko ruligxas sur               Kyoko rolls onto her
  la dorson, kaj etendas           back and spreads out
  sian dekstran brakon.            her right arm.

------------------------------------------------------------
p21/PW251

  ... sur la vizagxon              ... onto Godai's face.
      de Godai.

  Godai: .........                 Godai: .........
         .........                        .........

  Godai: (J- jes, mi               Godai: (Yes, yes,
     scias......)                     that's it........)

     (Uzu la plej bonan               (Make use of the
     dormpozicion...)                 sleeping posture,
                                      the most naturally
                                      possible......)

  Li ruligxas kaj                  He rolls over and
  etendigas la dekstran            reaches out his right
  manon al sxi...                  hand toward her...

  Godai: U~~~n......               Godai: U~~~n......

  Kentaro: Panjo, mi               Kentaro: Mooom, pee~~~.
     pisu! "'

  Godai: (Tiu bubo......)          Godai: (That brat......)
                       "'
  Godai: .........                 Godai: .........

  Kentaro iras liten...            Kentaro walks back...

  ... kaj, `dosa_',                ...and, `dosa_', lies
  kusxigxas inter Godai            down between Godai and
  kaj Kyoko!                       Kyoko!

  Godai: .........                 Godai: .........

  Tio estas tro gxena!             Godai has had enough!
  Li prenas Kentaro'n              He grabs Kentaro and,
  kaj `Zubo_', sxovas              `Zubo_', stuffs him
  lin en la futon, kun             bodily into his futon,
  la kapo unue.                    head first.

============================================================
p22/PW252

  Godai, `soro soro',              Godai, `soro soro',
  entendigxas al Kyoko.            reaches out to Kyoko.
  Ni povas vidi la                 We can see Kentaro's
  piedojn de Kentaro sur           feet on his pillow.
  sia kapkuseno.

  Akemi forjxetas sian             Akemi has thrown off
  kakebuton denove.                her kakebuton again.
  `DOKA_', sxi piedfrapas          `DOKA_', she kicks our
  nian malbonsxancan heroon        hapless hero in the
  cxe la stomako.                  stomach.

  `nga_'                           `nga_'

  Godai: *OU-*                     Godai: *OU-*

  Godai klopadas sxtopi            Godai is trying hard to
  lian agonikrion.                 muffle his agony.

  Godai: .........                 Godai: .........
         .........                        .........

  Mitaka: Godai-kun, vi            Mitaka: Godai-kun, you
     kasxemacxulo!                    wretch!

  Godai estas terurigita,          Godai is horrified, his
  kaj lia koro bategas,            heart pounding, `doki
  `doki doki doki'.                doki doki'.

  Godai aliras al Mitaka           Godai edges toward
  kun esprimo de malico.           Mitaka with a malicious
  Li konstatas ke Mitaka           look on his face. He
  fakte ne estas vigla             realizes that Mitaka
  malgraux cxio.                   isn't awake after all.

  Godai: (Vi acxulo...)            Godai: (You bastard...)

     (Kia dormparolo                  (What kind of sleep
     estas tio......?)                talk is that.....?)

  Godai: Boj boj, boj              Godai: Bow wow,
     boj.                                 bow wow.


  Mitaka: U~~n u~~n.               Mitaka: U~~n u~~n.
                                   
------------------------------------------------------------
p23/PW253

  Godai: (Hmm, sxi dormas          Godai: (Hmm, she's                      =;
     tiel bone.)                      sleeping so soundly.)
                                      
  Godai: (Kia bela                 Godai: (Such a pretty
     vizagxo.......)                  face.........)

  Li rigardas sxian                Godai stares at her
  dormantan vizagxon.              sleeping face.

  Godai surkovras sxin             Godai covers her up
  per la kakebuton.                with the kakebuton.
  `zuru_'                          `zuru_'

  Godai: (Pardonu min...)          Godai: (Please, forgive
                                      me.....)

  La brakoj de Kyoko               Kyoko's arms reach
  etendigxas...                    out...

  `ha_..', Godai surprizigxas.     `ha_..', Godai gasps.

  ...kaj sxi cxirkauxpremas        ...and she embraces
  Godai'n.                         Godai.

============================================================
p24/PW254

  Godai: Ka...                     Godai: Ka...
     Kanrinin-san......               Kanrinin-san......

  Kyoko:                           Kyoko:
     Souichiro-san......              Souichiro-san......

  La fono rompigxas                The background shatters
  malantaux Godai.                 behind Godai.

  Godai: He...                     Godai: Eh...?

  Godai estas malantaux-           Godai has pulled away.
  igxinta. Li rigardas sxin        He stares at her,
  tute konfuzite.                  totally nonplussed.

  `hakusho_', Godai                `hakusho_', Godai
  ekternas dum li tremetas         sneezes as he shivers,
  ne havanta iujn kovrilojn.       lacking any blankets.

  Kyoko: (Mi havis bonan           Kyoko: (Had a good
     songxon.)                        dream.)

  Mitaka: (Kial mi                 Mitaka: (How come I had
     songxis pri                      a dream about
     hundoj......?)                   dogs......?)

  Ichinose (al Godai):             Ichinose (to Godai):
     Kio okazis? Viaj                 What's the matter?
     okuloj estas rugxaj.             Your eyes are red.
     Vi ne dormis bone?               Didn't sleep well?

  Godai: (Estus ja pli             Godai: (I *really*
     bone ne iri al la                shouldn't have gone
     onsen.....)                      to the hot springs.....)
                                      
------------------------------------------------------------------------------

Glosaro:
     "Jxanken" estas nomo de manludo.
     "Onsen" signifas "banstacio varmofonta".
     "Yukata" estas banrobo.


Piednotoj: fare de Andy West

    Pagxo 11/PW241
        Godai:  Denove!  Cxu vi estas trito?!
                                      ----- 
                [Ankaux:  trituro, kiu speciale signifas 'newt'.]

        Akemi:  Kun viaj mamoj vi povas preteksti esti junulino.
                         -----
                [MUNE povas signifi kaj 'brusto' <chest> kaj
                'mamoj' <breasts>; mi opinias, ke 'mamoj' estas
                 signifata.]

    Pagxo 12/PW242
        Yotsuya:  Mi cedas.  La trairo estas tro malgranda.
                     -----
                  [Pli bone:  rezignas.]

    Pagxo 13/PW243
        Yotsuya:  Sed dank' al tio, estigxis multe da mono por
                  drinkajxo.
                  ---------
                  [SAKADAI lauxvorte signifas 'trinkmono', sed tiu
                   Esperanta vorto portas ankaux la signifon 'tip'.    
                   'Drinkajxo' (= liquor, hooch) estus la pli bona
                   vorto.  Alternative, vi povas simple traduki la
                   unuan kanjxion lauxvorte kiel 'sakeo'.]

------------------------------------------------------------------------------

French Version:
~~~~~~~~~~~~~~
     Des commentaires, suggestions, remarques seraient appre'cie'es ainsi
que des annotations et corrections.
     Envoyez un message e'lectronique en anglais ou en esperanto a`:
          Glenn Tarigan <tarigan@sfu.ca>
     ou en franc,ais a`:
          Sylvain Rheault <rheault@ERE.UMontreal.CA>
 
Cette traduction franc,aise de Maison Ikkoku a e'te'
 
e'dit'ee par:
 
   Glenn Tarigan <tarigan@sfu.ca>
          - de Coquitlam, Colombie-Britannique (Canada) = 49.2'N 122.5'W
      Qui a recueilli les notes et commentaires de tous les participants
      mentionne's plus haut. Il a aussi e'te', dans la version anglaise,
      le correcteur bienveillant de Sylvain Rheault.
 
traduite par:
 
   Sylvain Rheault <rheault@ERE.UMontreal.CA>
          - de Montre'al, Que'bec (Canada) = 45.3'N 73.3'W
      Qui a fait une premie`re traduction en anglais de tout le chapitre
      et qui, a` partir de la mise au point de cette version, en a tire'
      la pre'sente traduction franc,aise.
 
corrige'e par:
 
   Kanaya Takehiro <kanayat@ERE.UMontreal.CA>
          - de Montre'al, Que'bec (Canada) = 45.3'N 73.3'W
      Professeur de Japonais a` l'Universite' de Montre'al qui a eu
      l'amabilite' de re'viser et de corriger la pre'sente version.
 
et revue par:
 
   Ken Elescor <cao_o@epita.fr>
          - de France...
      Qui a eu l'amabilite' de revoir cette traduction.
 
Conventions:
~~~~~~~~~~~
(....) = Les pense'es d'un personnage
<....> = De'finitions/traductions
[....] = Descriptions/annotations
{....} = Commentaires
(x)    = Notes finales
`Voix' = Personnage hors-cadre
 
MAJUSCULES     = Kanji
minuscules     = Hiragana
____
.... ou [....] = Katakana
 
_...._         = Furigana
#....#         = Lettres romaines
`....'         = Onomatope'es
 
_.             = Petit `tsu' final
--             = Extension de voyelle simple
--- ou plus    = Extension de voyelle e'tendue
~~ ou plus     = Extension de voyelle emphase'e
' ou -         = Pour se'parer les kanjis lorsque c'est ne'cessaire
 
Accentuation
~~~~~~~~~~~~
Comme c'est souvent le cas dans le milieu informatique, le langage ASCII se
pre`te mal aux accents francais. Les majuscules n'ont pas e'te' accentue'es,
mais je vous conseille de faire un remplacement avec votre e'diteur
pre'fe're' des "minuscules avec l'accent apre`s" utilise'es dans cette
traduction. En voici la liste:
 
     a`
     a^
     e'
     e`
     e^
     i^
     o^
     u`
     c,
 
------------------------------------------------------------------------------
 
                  Titre:  TOUJISHAtachi
                         <Les Curistes>
 
p6   PW236
1
Lettre de Grand-me`re:
  Cher Yusaku,                ZENRYAKU
    comment va ta jambe?      YUUSAKU, ASHI no GUAI wa
                              dou desu ka?
2
Lettre de Grand-me`re:
  Vu l'agitation              KONKAI no KOSSETSU SAWAGIde IKKOKU-KAN
  provoque'e par ta            cette     os      agitation
  fracture, [j'imagine         fois       brise'
  que] les habitants
  de Maison Ikkoku se         no HITOTACHInimo oSEWA ni natta koto deshou.
  sont bien occupe' de            gens          soin
  toi.
 
Godai:
  Pas vraiiiiiment.           BETSU nii~~~~~~
 
Ecriteau:
  Manjuu                      manjuu
 
3
Grand-me`re
  Un...                       Hii~~~
  Deux...                     Fuu~~~
  Trois...                    Mii~~~
 
Lettre de Grand-me`re:                    ________
  Va aux sources thermales.   baachan no hesokuri wo DOUFUU
  Cela servira a` la fois     grandme`re  argent
  de traitement...                         cache'
 
                              shimasukara, sasayakana oREI to,
                                            modeste   re'compense
4
  ...et de remerciement       ASHI no CHIRYOU wo KAnete ONSEN ni demo
  modeste [pour m'avoir       jambe   traitement
  accueillie chez toi].
  Tu trouveras ci-incluses    Itte kudasai. oBAASAN [ou SOBO] yori.
  mes e'conomies secre`tes.   aller          grandme`re
     Ta Grand-me`re.
 
Ichinose:
  Ooh, c'est la`,             o--, asoko da asoko da.
  c'est la`.                       la`
 
5
Tenancier:
  Bienvenue. Avez-vous        irasshaimase, oNIMOTSU wa?
  des bagages?                              bagages
 
Ichinose:
  Ils nous suivent.           ato kara KUru yo.
                                        venir
Akemi:
  Mais qu'est-ce qu'il        naniyatten no kashira ne--.
  fout celui-la`?        
 
6
Kyoko:
  Je vais aller voir.         atashi, chotto MIte kimasu.
                                             voir
 
Mitaka:                       _otonashi_
  Otonashi-san,                OTONASHI-san wa SAKI ni agatte te kudasai.
  montez devant,                               d'abord  monter
  jevous prie.
  [Je vais y aller].
 
------------------------------------------------------------
p7   PW237
1
`ZE~~~ ZE~~~', respiration pe'nible
 
Godai:
 (Bon sang...)                         (mattaku......)
 
 (J'aurais pas du venir                (ONSEN nante KUrunja nakatta......)
  aux sources.....)
 
Ecriteau:
  ???                                   -tobuki
 
Ecriteau:
  Snack Hizuka                          hizuka sunakku
 
Ecriteau:
  [...] Shinagawa                       ?? SHINAGAWA
 
Ecriteau:
  Produits de beaute'                   [...]SEIDOU KESHOUHIN
  [...]SEIDOU
 
2
Mitaka:
  Quoi?                                 nanda,
 
  tu n'e'tais encore qu'ici?            mada konna toko ni itanoka.
                                        encore     place    e^tre
 
  Tu n'as donc pas                      TAIRYOKU nai na, kimi wa,
  de force?                             force    pas     toi
                                         physique
Godai:
 (En plus, une certaine   (omake ni KANKEI nai no wa tsuite kuru shi......)
  personne qui n'a pas              relation           suivre
  d'affaire ici est
  venue......)
 
Ecriteau:                    
  [...]uu
 
3
Mitaka:
  Je vais t'escorter,         ganbare, MIMAMOtteite yarukara.
  allez, encore un effort.
 
Godai:
  Au lieu de m'escorter,      MIMAMOru yori, NIMOTSU MOtte kudasai yo_.
  pourquoi ne pas prendre
  quelques bagages?!
 
4
Trois tasses de the' sur une table.
 
5
Godai:                                     ____
  Vous n'avez aucune          antara ni wa kega NIN   wo itawaru
  conside'ration pour         vous         bless
  les blesse's?
                              KIMOchi ga nai no ka!?
                              sentiment
 
Ichinose:                     ______
  C'est de ta faute           janken ni YOWAi anta ga WARUin daro.
  si tu es nul a`                       faible toi    mauvais
  janken.
 
6
Mitaka:
  C'est sale comme            sorenishitemo kitanai HEYA desu ne--.
  endroit, non?                             sale    chambre
 
Godai:
  C'est curieux...            okashii na--,
 
  Il me semble qu'il y avait  motto ii HEYA ni TOmareru dake no KANE wa,
  suffisamment d'argent pour
  re'server une meilleure
  chambre.                    atta hazu desu yo.
 
Kyoko:
[ `kara...', elle ouvre
   une porte coulissante ]
 
  Oh...                       ara...
 
============================================================
p8   PW238
1
Kyoko:
  Je pensais que c'e'tait     OshiIre ka to OMOttara......
  un placard...
 
  [mais] les divisions des    HEYA no shikari ga fusuma ICHI MAI nante.
  pie`ces [ne sont faites]     chambre
  que d'une porte de
  papier.
 
Ichinose:
  Wa ha ha ha
 
2
Godai:
  Qu'est-ce que vous          Uita   KANE, nan ni TSUKAtta n desu.
  avez fait avec l'argent?    e'pargne'
 
Ichinose:
  Nous l'avons garde'         KONBAN no ENKAIHI ni KImatten daro.
  pour le repas de
  ce soir.
 
3
Kyoko:
  C'est donc pour cela.....   kore da mono.........
 
  Je savais que j'aurais    yappari WATASHI ga KAIKEI KAKARI yarubeki dattawa.
  du^ m'occuper du           apre`s    moi
  budget...                   tout
 
Ichinose:
  Ne t'en fais pas,           KInishinai, KInishinai.
  ne t'en fais pas.
 
4
Ichinose:
  Bon, allons prendre un bain      sa, YUUMESHI MAE ni hitopPURO abiteko yo.
  avant le di^ner.                     di^ner  avant
 
Akemi:
  Oui, oui, d'autant plus          so-- so--, FURO dake wa
  que le bain est la seule
  chose qu'on peut utiliser        hairi HOUDAI nandakara.
  a` volonte'.
 
5
Yotsuya:
  Eh bien, allons-y                soredewa ware ware mo
  e'galement.                               nous      aussi
 
Godai:
  Bonne ide'e.                     so-- desu ne.
 
  Je suis couvert                  su--kkari ASE wo kaite shimatta.
  de sueur.
 
6
Ecriteau:
  Bains principaux                 DAIYOKUJOU
 
Noren gauche:
  Femmes                           ONNA
 
Noren droit:
  Hommes                           OTOKO
 
7
Godai:
  Hmmm.                            fu--.
 
`jororororo...', eau coulant du tuyau.
 
`su su su', Yotsuya avance dans l'eau.
 
`basha basha', Kentaro faisant des longueurs.
 
------------------------------------------------------------
p9   PW239
1
Godai:
 (Apre`s tout, cela fait           (yappari   KIMOchi iina.)
  du bien.)                         apre`s tout  sensation  bonne
 
 (Je suis content d'e^tre          (KIte yokatta.........)
  venu.........)
  
`jorororo...',
 
2
Yotsuya examine le bord du mur.
 
3
`su su su', il avance dans l'eau le long du mur.
 
4
`kon kon', il frappe sur le mur.
 
5
Mitaka:                                           _yotsuya_
  Que cherche M. Yotsuya?      nani wo yatte runda YOTSUYA-SHI wa.
 
Godai:
  Yotsuya-san,                 YOTSUYA-san, i--kagen ni shinasai yo.
  je vous prie de
  cesser cela.
 
  Nous ne sommes pas venu  konna toko made KIte nozoki nante......
  jusqu'ici pour jouer aux                       voyeur
  voyeurs
 
`basha basha', Kentaro
 continue de nager.
 
Yotsuya:
  Oh!                         o_.
 
6
Yotsuya:                     _godai_
  Godai-kun, Godai-kun,       GODAI-kun, GODAI-kun, chotto chotto.
  venez, venez.
 
Godai:
[ `doki...', ]
 
  Eh?                         e_.
 
7
Godai:
  Qu- qu'est-ce qu'ya?        na_, nan desu ka_.
 
`ji~~~..',
 
`za_ za_', Godai approche.
 
============================================================
p10  PW240
1
Yotsuya:
  Regardez. Ici......         ho, hora koko......
 
Godai:                          
  Eh.                         e_.
 
2
Godai:
[ `ji~~~' ]
 
  ?
 
3
Godai:
  Je, je ne vois rien......   na, nani mo MIemasen ga......
                              rien    peut voir  mais
 
Yotsuya:
[ pointe un endroit sur le mur ]
 
  Ici, regardez ici.          koko desu yo. koko.
 
4
Yotsuya:                             ____
  Vous ne voyez pas?          hora_, koke ga HAeteru.
  Il y a de la mousse.
 
`dopu---n', Godai tombe
 sur le dos dans l'eau.
 
5
Godai:
  Qu'est-ce qu'ya de si       dakara nanda_ tsu--n desu!?
  spe'cial avec c,a?!
 
Yotsuya:
  Qu'est-ce que vous          nani ga MIeru to OMottan desu?
  pensiez voir?               what    see      think
 
6
Kyoko:
  Aahh,                       aa,
 
  On se sent bien.            ii KIMOchi.
                             bonne  sensation
 
7
Akemi:
  Kanrinin-san, si je         KANRININ-san, SENAKA NAGAshite ageyo~~~ ka.
  vous frottais le dos?
 
Kyoko:
  Je veux bien.               oNEGAi shimasu wa
 
8
Trois hommes et un gamin.
 
`kya_ kya_',
 conversations/cris de femmes.
 
`basha basha',
 Kentarou continue son 400m libre
 dans un bain de 10m.
 
------------------------------------------------------------
p11  PW241
1
`bito~~~', Yotsuya regarde par une fente du mur.
 
Yotsuya:
  Quand me^me,                i--desu na, ONNA no HITO wa hanayaka de.
  elles sont superbes
  les filles.
 
Godai:                               _____
  Encore! Mais quelles        mata_, imori desu ka anta wa_.
  sont ces manie`res de
  le'zard?
 
2
Mitaka:
  Godai-kun, tu es mal              GODAI-kun mo HITO wo HINAN dekiru
  place' pour critiquer
  les autres.
                                    TACHIBA ja nai daro--.
 
Yotsuya:
  Vraiiiment, tooout le       so--desu, mi--na HONTO wa MItain desu
  monde veut voir les
  filles.
 
3
Mitaka:
  Je ne vous le re'pe`-       Ittokimasukedo, boku wa nozoki no SHUMI
  terai pas deux fois:
  le voyeurisme n'est pas
  un de mes loisirs.          wa arimasen kara.
 
Yotsuya:
  Ah, vraiment?               sai desu ka.
 
`joborororo..', eau coulant.
 
4
Akemi:
[ lavant le dos de Kyoko ]
  Kanrinin-san, vous          KANRININ-san, HADA kirei ne.
  avez une belle peau.
 
Kyoko:
  Vous trouvez?               sou kashira.
 
Ichinose:                              ____
  Vraiment, elle est          ho--nto, hari ga atte......
  tellement lisse......
 
5
Voix (Akemi?):
  Avec une telle poitrine,    MUNE   nante, mada JUUDAI
  vous avez l'air d'une
  adolescente.                de TSUUYOU suru wa yo--.
 
Voix (Kyoko):
  Arre^tez...!                iyada--.
 
`kya_ kya_'
 
Godai:
  .........
  .........
 
6
Yotsuya:
  Oh!                         a_.
 
============================================================
p12  PW242
1
`SHIPA_'
 
Godai:
  Qu'est-ce qu'il y a?        doushimashita_.
 
Yotsuya:
  Je viens de me rappeler     JUUYOU na koto wo OMOiDAshimashita.
  de quelque chose
  d'important.
 
2
Yotsuya:
  Il est possible             YOKUSOU ga SHITA de tsunagatte iru,
  que les deux bains
  soient connecte's           to iukoto mo ariEru.
  sous l'eau                  
 
3
`DOBO_', Yotsuya plonge.
 
Godai:
  Un, un instant Yotsuya-san...     cho, chotto YOTSUYA-san...
 
4
Mitaka:
[`su--', prend son souffle ]
 
  N- non! Pas de voyeurisme        i_, ikan, SHITA kara nozoku nante.
  par en dessous!
 
Godai:
  Arre^tez, Yotsuya-san!!          yamenasai, YOTSUYA-san_!!
  
`dobo--n', Godai plonge a` son tour.
 
5
`Dobo~~n', Mitaka est le dernier a` plonger.
 
`za za za'
 
`basha basha', Kentaro joue
dans l'eau avec ses pieds.
 
6
`GABO GABO GABO',
 
7
`puha_', Mitaka revient a` la surface.
 
`su--', Yotsuya sort la te^te de l'eau.
 
8
Yotsuya:
  Rien `a faire,             mairi mashita ne,
 
  L'ouverture est            sukima ga semai.
  trop petite.
 
9
Kentaro:
  Ou` est-ce qu'il est       GODAI no oniichan wa?
  Godai-no-oniichan?
 
Yotsuya:
  Sa jambe est ici.          ASHI nara koko ni.
 
------------------------------------------------------------
p13  PW243
1
Godai:
[ `GOBO GOBO_', ]
 (Peux... pas sortir...!)      (nu_, nuken......)
 
2
`gobo gobo...'
 
Ichinose:
  Ahh, l'eau e'tait             a--, ii   YU   datta.
  bonne.
 
3
Ichinose:
  Qu'est-ce qui est arrive' a` Godai?        do--shitandai, GODAI-kun wa.
  
Kentaro:
  Il s'est noye' dans le bain.          FURO de oboretanda yo.
 
Akemi:                                  _____
  Quel imbe'cile.                       bakka mitai.
 
4
Godai:
 (j'aurais pas du^...)                 (ONSEN   nante,)
 
 (venir aux sources......)             (KUrunja nakatta......)
 
5
Ecriteau:
  Tir au fusil "original"               GANSO   SHATEKI  YA
 
6
Sur la table, un repas tr`es frugal.
 
7
Godai
  Seulement une moule?        shijimi ga IKKO~~
 
Mitaka:
  Est-ce seulement            KInosei ka na......
  une impression
 
  ...ou bien est-ce           hidoku SOMATSU na SHOKUJI no you ni
  un repas de Spartiates?
                              MIemasu ga.........
 
Ichinose:
  Tu ne te trompes            anta no HANDAN wa TADAshii.
  pas.
 
8
Yotsuya:
  Mais ainsi, nous avons      okagede tappuri SAKADAI ga DEru wake desu.
  pu tout mettre dans les
  boissons.
                               _____  _
  Sante'!                     `KANPA--I'
 
============================================================
p14  PW244
1
Kyoko:
  .........
 
Ichinose:
`WA HA HA HA HA HA'
 
2
Kyoko:
  En tout cas, on         nandaka ZENZEN yosoni KIta KI ga shimasen wa ne.
  ne se sent pas du tout
  comme si on e'tait loin
  de chez nous.
 
Godai:
  Comme vous dites.           mattaku.
 
3
Akemi remplit le verre de Kyoko
 
Godai:
  ...Quand me^me,             ...to wa Ittemo,
 
4
Godai:
[ regardant Kyoko ]
 
  elle a l'air sexy           IROppoi na-- YUKATA SUGATA.....
  dans son yukata.....
 
5
Kyoko sourit.
 
6
De'but du songe de Godai.
( cases aux coins arrondis )
 
Kyoko:
  Ahh, j'ai un peu trop bu.      aa, WATASHI SUKOshi YOtte shimatta wa.
 
Godai:
  C'est du propre!               sore wa ikenai.
 
7
Godai:
[ essayant de profiter de la situation ]
 
  Pourquoi ne pas nous           SUKOshi SHIZUkana TOKORO ni Ikimashou.
  retirer dans un coin
  tranquille?
  ne.
  NE.
  *NE.*
 
L'arrie`re-plan est rempli de "ne"s.
 
------------------------------------------------------------
p15  PW245
1
Godai et Kyoko se retrouvent
dans une salle sombre.
 
Kyoko:
[ assise ]
  Ou` sommes nous?            koko wa doko desu no?
 
Godai:
  Ici, c'est......            koko wa.........
 
2
Godai:
  la SALLE DES FUTONS.        FUTON BEYA desu.
 
Kyoko:
  Mon Dieu!                   maa,
 
  c'est pour cela que         douri de SHIZUkada to OMOimashita wa.
  c'est tranquille.
 
3
Godai:
  Kyoko-san.
 
Kyoko:
  Godai-san
 
4                               
Fin du songe de Godai.
Il est en train d'embrasser
une bouteille.
 
Mitaka:
[ a` Kyoko ]
  Pourquoi ne pas nous        SUKOshi SHIZUkana TOKORO ni Ikimasen ka?
  retirer dans un coin
  tranquille?
 
Kyoko:
  Eh bien...                  Aa.
 
Godai:
[ entendant Mitaka ]
  Eh?!                        ha_.
 
5
Godai:
[ intervenant ]
  Kanrinin-san, ne vous       KANRININ-san, KUCHIGURUMA ni NOtcha.
  laissez pas avoir par
  ses belles paroles.
 
6
Godai:
  Il pense probablement         do--se, FUTON BEYA ni demo
  vous entrai^ner dans la
  salle des futons.             TSUrekomu  tsumori desho-- ga.
 
Mitaka:
  La salle des futons?!         FUTON BEYA!
 
  Quelle pie^tre imagination    HASSOU ga HINKON da na---, kimi wa.
  tu as.
 
Ichinose:
  Ca recommence.                ma--ta HAJImatta.
 
7
Yotsuya:
  C'est toujours la             yoku ONAji koto   bakari  shiteraremasu ne.
  me^me chose qui se
  re'pe`te.
 
Akemi:
  Vraiment, on ne dirait        ho--nto, ONSEN ni KIta KI ga shinaijanai.
  pas qu'on soit venu
  aux sources.
 
Godai:
[ s'agitant ]
 
  C'est vous qui me dites       HITO no koto ga Iemasu ka.
  c,a?
 
============================================================
p16  PW246
1
`ZURUU_', Akemi le`ve
 un TOKKURI.
 
`zuruu_',
 Le yukata d'Akemi glisse...
 
Akemi:
[ On voit sa poitrine. ]
  Allez, Mitaka-san,             ma-- ma-- MITAKA-san, NOmo-- NOmo--.
  buvons, buvons!
 
Mitaka:
[ la regarde nerveusement ]
  Euh... vous e^tes expose'e,    ano... hadakete masu yo, MAE......
  par devant......
 
`giyo_', Kyoko rougit.
 
`BU_', Godai crache sa
 bie`re a` la vue d'Akemi.
 
2
Akemi:
  Content, Godai-kun?            ureshii? GODAI-kun.
 
Godai:
  Cachez cela, vite!             HAYAku shimainasai_.
 
3
`WA HA HA HA', 
 Ichinose riant...
 
`BARI_', ...vient de'foncer
 une porte de papier.
 
Kyoko:
  Ah! Ichinose-san,           a--_ ICHInoSE-san, fusuma......
  le fusuma......!
 
4
Kentaro:
  Ouais, tu l'as brise'.      a--a, yabui chatte...
 
`Wa ha ha', Ichinose
 s'assoie, riant toujours.
 
Yotsuya:
  Une victoire pour son poids.   MEKATA no SHOURI desu na.
 
Kyoko:
  C'est toujours comme cela.     sho--ganai wa ne mou.
  Soupir...
 
5
Kyoko:
 (Cela ne va pas)                (dame da wa korya.)
 
 (Si je ne les surveille         (TETSUYA de MIHAttenaito...)
  pas toute la nuit...)
 
6
`chi_ chi_ chi_'
<tic-tac, tic-tac...>
 
L'horloge indique
2:26 du matin.
 
7
`WA Ha ha ha', Ichinose continue sa danse.
 Akemi s'amuse toujours, Kentaro est couche'
 et Kyoko semble sur le point de s'endormir.
 
8
`donchan...'
 
Ecriteau:                        _____
  Pach [..]                      pachi...
 
9
`su--', le souffle de Kyoko
dans son sommeil.
 
------------------------------------------------------------
p17  PW247
1
Ichinose:
  M'enfin?                    nanda nanda,
 
  Tous des mauviettes.        minna darashi nai ne--.
 
 
`guwa~~', Akemi ronfle.
 
`subu~~', Respiration de Godai.
 
2
Ichinose:
[ bordant Kentarou ]
  Bah, si c'est ainsi.        sho--ga nai ne--, mattaku.
 
3
Ichinose:
  Kanrinin-san, tu vas        KANRININ-san, KAZE hiku yo.
  prendre froid.
 
6
`pachi', Ichinose e'teint la lumie`re.
 
7
Elle marche dans le noir.
 
============================================================
p18  PW248
1
`Yoro_'
 
`Giyuu', Ichinose vient de butter
sur Godai.
 
Godai:
  Oof!                             gu_
 
2
`Zuruu...', Godai tombe a` me^me le sol.
 
Godai:
...laissez-moi en paiiix......   ...tte naa mou......
 
3
`Basaa_', Akemi repousse son futon.
 
`chi chi chi chi
 chi chi chi chi', tic-tac de l'horloge.
 
4
`brrrrr.....',                     bururu_
Akemi frissonne.
 
5
`ZUru_', Akemi attrape le bout du futon de Kyoko...
 
6
... et essaie de le tirer vers elle...
 
7
`DON_',
... donnant un coup de pied sur la te^te de Godai.
(Ce qui le renvoie un peu plus loin.)
 
8
Godai ouvre les yeux...
 
9
... et voit devant lui le visage de Kyoko, a` l'envers, juste sous son nez.
 
`GIku_', surprise.
 
------------------------------------------------------------
p19  PW249
1
Godai:
  (Kyo... Kyoko-san......)
 
2
Kyoko est sortie de son futon. Elle et Godai se font face, en position
foetale inverse'e, leurs visage se touchant presque.
 
Godai:
 (Je ne suis pas en train de re^ver...     (YUME ja... nai yo na......)
  non...?)
 
3
`shi-------------n',
effet de silence.
 
`gubibi_', Godai avale
sa salive.
 
4
Godai:
 (Tous les autres dorment          (mi, minna gussuri NEteru......)
  profonde'ment....)
 
`doki doki doki',
 Le rythme cardiaque de
 Godai s'acce'le`re.
 
`kukaka~~~'
 
5
Godai:                                                 _____
 (Je ne peux rien faire     (to, tonikaku kono mama ja rachi ga akan......)
  dans cette position.)
 
 (Comment pourrais-je       (ka, KARADA no MUki wo nanto ka......)
  changer le co^te' de
  mon corps......
 
`doki doki doki doki'
 
6
`zuri_'
Godai se retourne...
 
7
`zuri_'
 
8
`zuri_'
... de 180 degre's.  Maintenant, elle est dans son dos.
 
============================================================
p20  PW250
1
`shi----n',
effet de silence.
 
2
Godai:
  Z- zuuut!........            (shi, shimatta.........)
 
  Je me suis tourne' du        (KAITEN no HOUKOU wo MACHIGAETA)
  mauvais co^te'.
 
3
Godai:
 (Pourtant,)                   (shikashi,)
 
 (me^me en bougeant            (kou UGOitemo.........)
  ainsi.......)
 
4
Godai:
 (En faisant comme c,a         (ko, koreja itsumade tattemo MUkaiAen......)
  je ne serai toujours pas
  en face d'elle......)
 
5
Il a une ide'e.
 
6
Godai:
 (Si, si je faisais ainsi           (ko, kou surya iinda.)
  c,a devrait marcher.)
 
`Goron', Godai roule vers Kyoko.
                                      ___
 (Quel imbe'cile je fais.)           (aho mitai.)
 
7
Kyoko:
[`goron', mais maintenant
  Kyoko roule de l'autre
  co^te'. ]
 
  U--n.
 
Godai:
  A...
 
 
8
Godai:
 (Non, c'est trop cruel......)          (so, sonna SESSHOU na......)
 
 (Apre`s tous ces efforts.)             (konna ni DOURYOKU shiteruno ni.)
 
9
Godai:
 (Tournez par ici,                      (ko, kochi MUite kudasa--i.)
  s'il vous plai^t-----)
 
10
Kyoko:
  U--n.........
 
Kyoko roule vers lui et e'tend son bras droit...
 
------------------------------------------------------------
p21  PW251
1
... sur la figure de Godai.
 
Godai:
  .........
  .........
 
2
Godai:
 (Oui,                        (so, souda.........)
  oui, comme c,a........)     
  
 (Profiter de sa position,    (NEZOU wo RIYOU shite, goku shizen ni......
  le plus naturellement
  possible.)
 
3
Godai e'tend sa main vers Kyoko...
 
Godai:
  U~~~n......
 
4
... lorsque, soudainement, Kentaro, `Gyu_', lui marche dessus.
 
5
Kentaro:
  Mamaaaan, pipiii.         ka--chan, oshikko~~.
 
Godai:
 (Ce gosse......)           (konno gaki~~......)
 
6
`jya--'
 
`gobo gobo',
 Kentaro e'vacue ses besoins.
 
`go---_'
Ichinose ronfle.
 
Godai:
  .........
 
7
Kentaro revient...
 
8
...et se couche, `dosa_', entre Godai et Kyoko!
 
Godai:
  .........
 
9
Godai en a assez!  Il attrape Kentaro et, `Zubo_', l'enfourne te^te la
premie`re dans son futon.
 
============================================================
p22  PW252
1
Godai revient a` Kyoko.
`soro soro'
 
2
`DOKA_'
Akemi a encore repousse' son futon.
Elle donne un coup de pied a` Godai.
 
`nga_'
 
Godai:
  *Ouch-*                      I_
 
3
Godai essaie de re'primer son cri de douleur.
 
Godai:
  .........
  .........
 
4
Godai ayant re'cup're', retourne aupre`s de Kyoko.
 
5
`soro soro', il revient a` la charge, pour un baiser cette fois.
 
6
Mitaka:
[ `GABA_', Mitaka se
   le`ve soudainement
   dans son sommeil. ]
 
  Godai-kun, mesquin!          sekoi zo GODAI-kun.
 
7
Mitaka retombe sur on futon. Visiblement, il e'tait en train de re^ver.
`bata'
 
Godai, horrifie', a le coeur qui bat la chamade. `doki doki doki'.
 
8
Godai regarde Mitaka d'un air vengeur.
Il constate que Mitaka dort toujours.
 
Godai:
 (Espe`ce de...)               (kono YAROU~~~,)
 
 (Qu'est-ce que c'est que      (tsumaran NEGOTO wo......)
  ces salades.....?)
 
`zuri_'
 
9
Godai:
  Wouf, wouf wouf, wouf.       wan wan wan wan.
 
Mitaka:
  U~~n u~~n.
 
------------------------------------------------------------
p23  PW253
1
`zuri...'
 
Godai:
 (Hmm, elle dort si bien...)  (shikkashi yoku NEteru na--.)
 
2
Godai:
[ appuye' sur un coude,
  pre`s de Kyoko. ]
 
 (Un si joli minois.........)          (kawaii KAOshite.........)
 
3
 
4
Godai contemple son doux visage.
 
5
Godai la borde avec le kakebuton.
`zuru_'
 
6
Godai:
 (Pardonnez-moi...)                 (sumimasen deshita......)
 
7
Kyoko e'tend les bras...
 
`ha_..', Godai est surpris.
 
8
...et embrasse Godai.
 
============================================================
p24  PW254
1
Godai:
  Ka... Kanrinin-san......
 
2
Kyoko:
[ souriant dans son sommeil ]
  Souichiro-san......
 
3
Godai:
  Eh...?                      He...
 
4
Godai s'esquive. Il la regarde, abattu.
 
5
Kyoko roule, `go ro ro ro ro ro...', plus loin, et, en chemin, vient cogner
sur la te^te de Yotsuya.
 
6
 
`hakusho_', Godai e'ternue.
<Atchou!>
 
7
Ecriteau:
  Manjuu                      manjuu
 
Ecriteau:
  ???                         ...TEKI
  ???                         YOSHIOKANAN
 
Ecriteau:                     _______
  Snack Tsurukame             sunakku tsurukame
 
Kyoko:
 (J'ai fait un beau re^ve)    (ii YUME MIchatta*)
                              [ Le * est une note de musique. ]
 
Mitaka:
 (Comment ai-je pu re^ver     (nande INU no YUME nanka......)
  de chiens......?)
 
Ichinose (a` Godai):
  On a les yeux rouges?       do--shitano AKAi ME shite.
 
  On manque de sommeil?       NEBUSOKU?
 
Godai:
 (Je n'aurais *vraiment*      (ONSEN nante, hon_to ni KUrunja nakatta......)
  pas du^ venir aux
  sources.....)
 
 
Fin.

______________________________________________________________________________
//////////////////////////////////////////////////////////////////////////////
------------------------------------------------------------------------------

Annotated English Translation:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Summary data:
------------
Main Cast:
     Godai, Kyoko, Mitaka,
     Kentaro,
     Ichinose, Yotsuya and Akemi.

          Everybody in Ikkoku-kan is on this trip except for Mr.Ichinose.
          As usual, he is too busy to do anything with the others.

     Note: in the anime version, Mr. Ichinose is shown as taking care of
           Souichiro-san while the gang's away. Strangely enough, the dog
           doesn't want to eat the leftovers offered to him (for a change).
                                                                           ./
Bit Players:
     Old man: proprietor of the ryokan
     Two old ladies: bathing in an adjacent pool

          Other than the above people, there is nobody else at the onsen.

Date:
     As snow was falling while Godai was at the hospital, this must be
     a little bit after winter. In the previous episode, Godai was
     attending SEINENSHINRI SHIKEN (a big exam at the university),
     normally held in january or february. But Ito-san can probably
     give you more precise indications about this.
     
     In conclusion, this episode probably take place in march. But it
     must be before Soichirou's funeral ceremony, which is held
     sometime during the spring (I forgot when).
                                                       -- Sylvain-san

Duration:
     From late afternoon to morning of the next day.

------------------------------------------------------------------------------
                                ** ** ** **
------------------------------------------------------------------------------

Along the Spine:
     #Big S Comics#

     [ written vertically ]
          mezon IKKOKU <Maison Ikkoku>
          HARU no HAKA <Spring Grave>
     
          TAKAHASHI RUMIKO
          8
          [diamond symbol]

     [ written horizontally ]
          SHOGAKUKAN  (the publisher's name)
          #BC458#

------------------------------------------------------------
Cover Page:
  Written vertically:
     Along right side in yellow lettering: mezon IKKOKU 8  <Maison Ikkoku 8>
     Along left side in yellow: TAKAHASHI RUMIKO
  Written horizontally:
     In bottom left corner: #Big S Comics#

     Cover picture: Light-pink background with "barbell" shaped pattern.
     Kyoko is wearing a mostly-orange, very decorated kimono and patterned
     black sash. Her black hair is bound tightly upon her head, held in
     place by a red comb. On her right hand is the puppet of a lion dog, or
     dog spirit, or some such.               ./

============================================================
p1
Glossy color page:
     Vertically along left side in pink lettering:
          mezon IKKOKU  <Maison Ikkoku>
          TAKAHASHI RUMIKO
     In smaller letters:
          HARU no HAKA <Spring Grave>

     Kyoko (with beige hair) in the foreground looks back with
     consternation over her right shoulder to see Yotsuya (black hair)
     sitting on the floor with Nikaido (dark grey hair) standing behind
     him. Both guys are wet and a recently spilled bucket lies in front of
     them.

     [ This is a likely scene from Part 7, which has the water fight
       escalating between Yotsuya and Nikaido. ]

============================================================
p2
( This page was translated and first commented upon by Sylvain-san )

[ Note: See the Wideban Supplemental Information near the end of this
  document for summaries of the chapters previous to the ones below. ]

[ white ink on a purple background ]
MOKU'JI <table of contents>:

(part,page,title)
  1   3     Healing Bathers             TOUJISHAtachi

            [ What is funny about this title is that it implies that
              EVERYBODY is going to the hot springs for a cure. In fact,
              only Godai (and Mitaka)--as they were both injured in the
              previous chapters--really need to go to the hot springs in
              order to recover from their injuries. But the people at
              Ikkoku-kan, as usual, have to come along. ]

              Kanaya-sensei: If you look up in a dictionary, you will find
                 that TOUJISHA written with the above kanjis doesn't exist.
                 When referring to healing baths the term TOUJI-KYAKU (kyaku
                 = customer) is preferred. The word TOUJISHA does exist, but
                 it means "the person (party) concerned, interested (in a
                 suit or an accident)".

              Tarigan: I wasn't sure what the above text meant, so I
                 asked Sylvain to further clarify what the title should be.

              Sylvain-san: The appropriate reading, here, no doubt
                 about it, is "TOUJISHAtachi". The kanjis for "TOUJI",
                 here, mean (healing bath). With such kanjis,
                 "TOUJI-KYAKU" (customer of healing bath) is the usual
                 way to designate healing bathers, not "TOUJI-SHA"
                 (person of healing bath). If they hear "TOUJI-SHA"
                 without looking at the kanjis, japanese people will
                 understand it as "people concerned". This is how
                 Takahashi-san creates her puns. But "TOUJI-SHA"
                 meaning "people concerned" is written with different
                 kanjis. There's no way to make a literal translation
                 of this title.

                 How about "Concerned healing bathers"? ]
                                        __  ___
  2   25    Handling It With a Suit     su--tsu de otsukai
                                         suit       deal/manage
 
            [ Kyoko has to take care of her sick mother, who would prefer
              that Kyoko stay longer than necessary. Kyoko objects, and
              offers the excuse that she misses her favorite pillow. So her
              mother asks Godai to bring it. But Godai wants to make a good
              impression on Kyoko's parents and he decides to wear a suit
              to carry on the important task. ]
 
  3   49    The Face in the Dark        YAMI no NAKA no KAO
                                        darkness  in/    face
                                                   middle

            [ Godai wants to see Souichirou's picture, but he's always
              frustrated in his attempts. Godai patiently waits, and as
              the night darkens...
                 If you want to discover more about Buddhism and Shintoism,
                 I recommend you this chapter. ]

  4   69    Spring Grave                HARU no HAKA                       -=
                                        spring   grave
 
            [ Kyoko pays her annual visit to Souichirou's grave.
              Liu-san: In rigid-as-death English, it should be "Grave of
                 Spring".  However, this conjures the wrong picture in most
                 people's minds.  At the risk of being not literal, I would
                 translate it as "[A] Grave in Spring".  However, if you
                 can find an adjective form for "spring" (the season, of
                 course), I'd suggest you put "(The adjective) Grave".  ]
 
  5   89    Let's Live Together         ISSHOU ni SUmou ne
                                        together  live

            [ The first appearance of Nikaidou, who will have to make the tough
              decision whether or not to rent an apartment at Ikkoku-kan. ]
                                        ____
  6   111   Jab & Dodge                 jabu & utchari
                                        jab    leaning back

            [ These are boxing techniques. It refers to the "dirty fight"
              going on between Nikaido and Yotsuya.
                  I'm not familiar with boxing terms. Is there a better
              word than dodge? How about "Hit & run"? to express the same
              feeling of dirty fighting? ]

  7   134   About Being on              NAKAyoki KOTO wa
            Good Terms                  on good
                                        terms

             [ The war between Nikaido and Yotsuya is increasing in
               intensity. Kyoko tries to help out, but... ]

  8   155   Even Drenched With Rain     AME ni NUretemo
                                        rain   get wet
 
            [ A story about umbrellas that will place Godai between a
              rock (Kozue) and a hard place (Kyouko). ]
 
  9   175     [see note]                SHINKEIKABI
 
            [ Tough title.
                 SHINKEIKABIN = oversensitiveness but here, the last
                 kanji is BI = insignificance.
              Liu-san: That's one way of looking at it.  You're reading too
                 much into one Kanji.  A more literal meaning of it would
                 be "extremely small".  Remember, dictionaries tend to
                 cover all grounds.  They're good for reference, but
                 you--the reader--decide the ultimate meaning under the
                 circumstances.

              Sylvain-san: Thus, "Insignificant oversensitiveness". How
                 does it sound?
              Liu-san: Bad.  I don't think it fits the story and the
                 meaning goes waaaay off.  ^_^;  The title is an obvious
                 play on the phrase (it's a phrase in Chinese)
                 "shinkeikabin", which I would translate as "nerves
                 over-sensitive".  However, the "sensitive" part got
                 changed.  Hence, the reading with "bi" instead of "bin"
                 becomes closer to "nerves over-worn".
                    The title should be built on that basis, IMO.

              In this episode, Kyouko will become more upset by Godai's    ._
              behavior. But he can't help it, can he?

              Sylvain-san: I asked Noriko about this, but she didn't
                 understand. I asked Fumiko who suggested
                 "undersensitiveness". Tetsunori and Yoshiko, for their
                 part, suggest that "Godai must have something to ask".
                 
              Kanaya-sensei: The most important thing in Takahashi's titles
                 is what they evoke, not necessarily what they mean. Here
                 SHINKEIKABIN (oversensitiveness) is evoked.

              Sylvain-san: How about a simple "Don't get on my nerves"? ]

  10  196   It's Nothing                nandemo arimasen

            [ It's now easier to breathe for Kyouko and Godai. ]
                                        ___________ _____
  11  219   Scramble Kid                sukuranburu kiddo                  -=
                         
            [ Nikaido interferes in the rivalry between Godai and Mitaka. ]

     Along the left side of the page is a narrow panel showing Kyoko in a
     tennis outfit and toweling off, standing next to a tennis net.
     (This panel is a copy of what appears on p221,1).                     -=

     Along far left side: mezon IKKOKU   <Maison Ikkoku>
                          8  HARU no HAKA   <Spring Grave>

------------------------------------------------------------
p3   PW233
( In the normal volume, an orange tinting augments the artwork. You can
     tell that pages 3 to 6 were originally in color because of the
     gradient shading, as well as the fact that Akemi's hair has no
     penciled shading here. All the pages after page 6 were originally in
     plain black and white. The orange coloring ends on page 19. )

[ Liu-san: You know, for someone who's been reading manga for such a long
     time, I was surprised that I never figured this out.  ^_^;  I've
     always wondered why some pages look that way.  That's what happens
     when one reads B&W pirate manga all the time. ]

Title:
     #Part# * 1   TOUJISHAtachi
                <Healing Bathers>

     [ Note: Replace that asterisk with a heart symbol. ]
     
     Signboard:
        ____________                           ____________
       |            |                         |            |
       | <-  BATH   |             originally: | <- YOKUJOU |
       |____________|                         |____________|

     Kyoko, seen in left profile, walks to the left, wearing a yukata, and
     slippers. Cradled in her arm is a case, and she holds a small towel in
     her left hand. The background is blank except for a gradient fill that
     darkens towards the top of the page.

{ Sylvain-san: According to Noriko (my Japanese room-mate) the case
     that Kyoko is carrying must be a SENMENYOUGU (dressing case,
     where you put your soap, shampoo, brush, etc.).

  Tarigan: Kyoko is also carrying a TENUGUI (is a small towel often
     made out of thin cotton). This towel isn't very big, being only
     about 75cm long, 30cm wide and not very thick. It looks more like
     a face towel, but it's also used as a wiper and dryer.
     Nevertheless, the bathwater is so warm that it isn't difficult to
     dry oneself with this pitifully small towel. Actually, the
     western style thick towel isn't terribly useful in Japan during
     the humid summer because such thick towels tend to become moldy
     instead of drying out.

  Liu-san: The same goes for Taiwan.  Towels are thin there as well.  They
     feel cheap, too, which probably isn't the case in Japan.

  Sylvain-san: About TENUGUI, Japanese men used to fold it and put it on
     the top of the head while bathing.

  Liu-san: That can be spotted in many manga.

  Carragher-san: I can add a bit to that based on my experience at this
     place called the Hotel New Palace.  If you want, I can get the
     location, but it's on the west coast of Honshu, south of Hagi and
     north of Ube.  As the name suggests, it's a hotel, but it also
     contains sentou.  Admittedly this is different from an onsen, but were
     enough similarities between what I saw in the manga and what I saw at
     HNP.

     If you're staying at the hotel, you can go whenever you want.
     Otherwise, you pay per visit.  Note that if you eat a sufficiently
     large meal at their restaurant (a bit expensive, of course, but they
     feed you directly from their aquarium), you can take one bath for
     free.

     Anyway, you give them everything you want them to hold and they give
     you a towel and tag.  You enter a little genkan and take off your
     shoes before going through the hanging noren.  Inside, they had a
     section with a row of benches for dressing and undressing, plus
     plastic bins to put your clothes and glasses/watches/etc. into. There
     was also a couple of sinks.  N.B. there were *no* towels anywhere
     except for the ones you were given and the wet ones that were already
     used.  The significance of this didn't come to me at first, but hit me
     fully afterwards.

     There was another section, enclosed almost fully by glass.  The
     exceptions were the part adjacent to the hotel (wood/concrete) and the
     part (I presume) adjacent to the female section (bamboo).  Yes, it was
     segregated by sex.  There was a row of movable stools next to shower
     heads for bathing, plus a single stall for those who liked to stand
     up.  I presume it was also for handicapped people, though I saw no
     obvious handles nearby.  However, I did note that the stand-up had
     greater water pressure, which proved quite useful.

     Finally, there were two separate sentou, one that was basically a
     shallow pool, though very large, and one that looked more
     "traditional," in that its bottom and sides were wooden, and the water
     came through a bamboo "pipe." I had no illusions that either were
     onsen, but I thought that they might be adding minerals to the
     "traditional" sentou.  It turned out they added minerals to both.  I
     guess some of the guests just prefer pretending they're in an onsen,
     and they can't imagine well enough in the pool. At one of the ends of
     the pool was a huge window which looked out onto the Sea of Japan (and
     the nearby islands). Quite nice and relaxing, really.

     Okay, now that you have a picture of what I saw, let me tell you why I
     decided to put this little story here.  I had been told by my mom that
     I should first wash off before entering the sentou.  In fact, I'd also
     seen this procedure in anime as well, and thought it eminently
     logical.  So imagine my surprise as I follow a bunch of ojisans into
     the bathing area, only to watch them each grab a plastic bowl, scoop
     some water out of the big sento and douse themselves, and then *step*
     *right* *in*.  And here I was about to wash myself *before* getting
     in!!  I figured, screw it and just followed them.  I made sure to wash
     myself thoroughly afterwards, though!

     Of some curiosity was the fact that they went into the big pool first,
     then washed, then entered the smaller, "traditional" sentou.  Hey, no
     one ever told me about this. I would've followed them, but, as I'm a
     slow bather, and because I knew everyone else would be waiting for me
     outside, I decided to just wash off and get dressed. Besides, by the
     time I finished, the ojisans were already dressed and gone anyway.

     Now, here's the real reason for the story:  that 75cmX30cm towel
     *does* *not* dry you off if you follow this sequence! You see, you
     haven't absorbed enough heat from the sentou, or rather most of the
     heat you *did* absorb has already radiated.  So the moisture doesn't
     evaporate as quickly, and, as I found out in little time, that tenugui
     just didn't cut it.  And because I didn't know a lot of Japanese, and
     because I hadn't paid much attention to the layout as I came in, I
     didn't know how to get a new towel.  So I ended up using the blow
     dryer that was in the dressing area.  I was quite thankful that nobody
     was around, except for one obasan who came to check the water
     temperature.  (She had asked me if it was fine; I was clueless and
     shot back a few "sumimasen"s.  She eventually lost interest.)

     A final note, though:  the water temperature was *not* in the 60-65C
     range.  I'd say it was no more than about 40C. So even if I'd done it
     "by the book," I probably would've run into the same problem, though
     not as quickly.
}
============================================================
p4-5   PW234-235

This is a double page spread.

On the right page, we see Kyoko sitting naked on a rock seat of the bath.
She holds her towel up, appearing to dry herself, while covering her front.

On the left page of this spread is a narrow, sideways-turned panel (on the
right side of the page) depicting the heads of Godai, Yotsuya and Mitaka
(in order from top to bottom) peering from the edge; all three are looking
across the page, with varying degrees of interest, at Kyoko.

At the far left side, written vertically is the title:
     #Part# * 1
     TOUJISHAtachi

============================================================
p6   PW236
1
Letter from Granny:
  Dear Yuhsaku:               ZENRYAKU                                     ._
    Yuhsaku, how's your       YUUSAKU, ASHI no GUAI wa
  leg?                        dou desu ka?
 
{ Sylvain-san:
     ZENRYAKU is used at the beginning of a letter. It means that you want
     to skip the usual preliminaries. In a typical Japanese letter, people
     start talking about the temperature, then they get to the gist. "Hi
     Dad, nice weather. Can you send me XXXXyen?". There is no way to
     translate ZENRYAKU I think. Starting with "Yuhsaku" would good enough.

     The shape of the "balloon" suggests a letter. All the stuff that can
     be found in square balloons is, in fact, the same letter that the
     grandmother wrote to Godai. Why do I think it is the granny who wrote
     it? She will mention it later. Besides, she is the only one to call
     Godai by his first name. [Except for the rest of the family. Ed.]

  Ito-san: Yagami once called him by his given name :-)

  Liu-san: I think square "balloons" are sometimes used for narration as
     well.  The easiest way to spot these words as being from a letter is
     looking at the format of the words and the fact a form of address was
     used at the beginning.  Most readers will intuitively understand.
}
 
2
Letter from Granny:
  [Considering the]           KONKAI no KOSSETSU SAWAGIde IKKOKU-KAN       ._
  agitation that occurred      this      broken
  because of the bone          time       bone
  you broke [this time]
  [I guess that]              no HITOTACHInimo oSEWA ni natta koto deshou.
  the people at              people
  Ikkoku-kan took             
  care of you.

     or:
  Even given the problems               [ In v7,4/ VW5,4 Godai broke
  caused when you broke                   his leg, and it took five
  your bone this time,                    chapters for it to heal. ]
  you have to admit that
  the people at Ikkoku-kan
  did take care of you.     ./

[ Liu-san: Since I've only the Chinese translation, I'm going out on a limb
     here.  The sentence structure looks very similar to the Chinese one,
     and the point of contention here is the word "even" you've used.  In
     the Chinese translation, the word that can mean "even" is used as
     well, but in this context the sentence is closer to "...the people of
     Ikkoku-kan must have taken good care of you." in Chinese. It fits
     better with Godai's "retort" in the next line, I think. ]

Godai interjects:
  Not reaaally.          BETSU nii~~~~~~                                   -=

     or:
  On the contraryyyy.    [ Sylvain-san: Godai is implicitly answering
               ._             to the letter of his granny.
                           Tarigan: Why? Because the loons didn't exactly
                              help him in the previous chapters, and, at
                              the moment, the loons have weighed down Godai
                              with all their luggage. Not exactly taking
                              care of him... ]
Sign:
  Manjuu                 manjuu

{ Sylvain-san: Manjuu are a kind of Japanese delicacy. If I remember well,
     it often consists of a kind of red bean jelly (azuki) in a sort of
     bread. But I know that there are different kinds of manjuu according
     to the area. Some places in Japan are famous for their manjuu.

  Mark-san: [ more manjuu stuff ]
     One of the peculiarities of Gunma prefecture is a dish called
     _yakimanjuu_.  My host told me this is something which is unique to
     Gunma.  They were serving it all over the place at the Urabon and
     Summer festivals, and I got to the point that I couldn't get enough of
     the stuff.  In the places I ate at, it was always the same - four
     light-colored things like dinner rolls covered with a sweet, sticky
     dark-brown glaze, on a stick.  They cook it on a grill, just like
     yakitori, etc.  I'm not sure if this was what was mentioned in the MI
     story, but yakimanjuu is really a big deal in that area.  I wouldn't
     be surprised if there were stands that sold it in the town that the
     Ikkoku-kanites are visiting.

     Amusing digression - The first time I had _yakimanjuu_ was at a
     festival run for the kids at a local nursery school.  My host had a
     five-year-old in one of the classes there, and he invited me along.
     Picture, if you dare, a preschool boy escorting a 30-year old,
     enormous _Amerikajin_ to his class party.  I was even invited to do
     stuff like carting the kids' cardboard _o-mikoshi_ around the
     playground with the other kids.  I hope my family will eventually send
     me the photos they took of this absurd spectacle - they've got to be
     hilarious.

  Tarigan: It's time for a really gratuitous annotation!
     See Additional Notes: "Manjuu".  }
 
3
Granny:
  One...              Hii~~~   <-- [ Sylvain-san: She is probably counting
  Two...              Fuu~~~            bills of 10 000 yen. Instead of
  Three...            Mii~~~            saying the full words, she's
                                        abbreviating them to their first
                                        syllables:    Hi...totsu
                                                      Fu...tatsu
                                                      Mi...ttsu
                                       (She said in her letter that she is
                                        sending money to Godai.) ]
Letter from Granny:                      ________
  Go to the hot springs.      baachan no hesokuri wo DOUFUU                ._
  It will serve as both       grandma's   secret
  a treatment and a...                     money

                              shimasukara, sasayakana oREI to,

{ Tarigan: An idiom that is applicable here is "heso-kuri wo tameru", which
     means "save up secretly". This idiom most commonly refers to money
     that a wife has secretly saved up. "Heso" originally referred to yarn
     from which wives would spin ("kuru") thread. Over time, "heso-kuri"
     came to refer to money, and with "tameru" <save> now means to save up
     secretly. "Heso-kuru" means to put money away secretly.  [COMP93]

  Ito-san: We rarely say "heso-kuru"(verb). "heso-kuri wo tameru" is okay.

  Liu-san: There is an idiom for that in Chinese as well.  As I don't have
     the Japanese edition, I can't say how close the two are.
     (Pronunciations in Japanese don't help me)
}

4
  ...modest reward [for       ASHI no CHIRYOU wo KAnete ONSEN ni demo      ._
  welcoming me as you did].   leg
  For that purpose,
  I here enclose my           Itte kudasai. oBASAN [or SOBO] yori.
  secret savings.             |              grandma
     Your Grandmother.        |
                              [ Carragher-san: SOBO is the correct
{ Kanaya-sensei:                   pronunciation.  "oBASAN" uses a
     A couple of chapters          different kanji, plus the "san"
     before, the granny            would be in hiragana.
     went to Ikkoku-kan.}

Ichinose:
  Ooh, there it is,           o--, asoko da asoko da.                      -=
  there it is.                     there                                   
 
{ Sylvain-san: It is difficult to do a separate translation of the parts of
    the letter from Granny in panels 3 and 4, because there is only one
    sentence. I chose to make a logical sentence. Sorry to get over the
    problem this way.

    Note: It is highly recommended in Japan (and also in France) to go to
          the hot springs in order to recover better from any injury.  }
 
5
Ryokan dude:
  Welcome. Do you             irasshaimase, oNIMOTSU wa?                   ._
  have any luggage?                          luggage
           -=

{ Liu-san: Literally, the question was more like "Luggage?".  However, that
     sounds impolite in English.  The translation you used is fine.  (This
     balloon requires next to no translation in Chinese.) }

Ichinose:
  They'll be here soon.   ato kara KUru yo.                                -=
               ./         |   come
     or:                  |
  They'll come shortly.   [ Sylvain-san: The _luggages_ will come shortly.
               ._              Anyway, I'm not an English native speaker.
     or:                       Someone else must be the final judge here.
  It'll be here soon.
               ._           Melanson-san is the final judge:
                               "Luggage" is one of those collective nouns
                               that don't have a plural, though the meaning
                               is plural. So "it", not "they" in the next
                               sentence. (This is native-American-English-
                               speaker intuition, not any rational reason.)
                               I tried to think of some other examples and
                               haven't yet.  I just haven't ever heard it
                               used; "luggage" means a bunch of bags or
                               suitcases;  the unit is "piece of luggage".

                            Tarigan: Hey, not only do I learn more
                               Japanese, I'm also improving my English.
                               Thanks! (My dictionary unambiguously says
                               that you're correct.)  ]

{ Tarigan: Just behind the ryokan's proprietor is a TSUITATE. This is a
     portable screen framed by wood and standing on two wooden feet which
     are at each end of the bottom beam. A tsuitate often stands at the
     foyer or guestroom to limit the view from outside when you open the
     door. Some tsuitate have artwork or decoration on them. }
 
Akemi:
  What the heck          naniyatten no kashira ne--.                       -=
  is he doing?           |
               ._        [ Sylvain-san: Akemi is a waitress in a bar, and
     or:                      her speech can become more rough (in regard
  Where is that guy?          to the contraction: nani wo yatte iru no =>
               -=             naniyatten no), even if she ends with a
                              feminine touch ("kashira"). ]
6
Kyoko:
  I'll go look.          atashi, chotto MIte kimasu.                       -=

Mitaka:                 _otonashi_
  Otonashi-san,          OTONASHI-san wa SAKI ni agatte te kudasai.        -=
  please, go             |
  up first.   ._         [ Tarigan: This is slightly unusual--they rarely
                             use furigana in Maison Ikkoku to show the
{ Sylvain-san:               normal pronunciation. I guess they're trying
    The Genkan is a          to help new readers learn the names, seeing as
    "split-level"            this is the first chapter in the volume.
    entrance in              Strange that they didn't think of doing this
    traditional              in the first volume, though.
    Japanese houses.       Sylvain-san: Funny, I don't have any furigana
    Thus, the reason         in my wideban edition. ]
    for going up. }

------------------------------------------------------------
p7   PW237
1
`ZE~~~ ZE~~~',
 labored breathing.
 
Godai:
 (Damn it...)                      (mattaku......)                    
 
 (I shouldn't have come            (ONSEN nante KUrunja nakatta......)     -=
  to the hot springs.....)

Sign:                    
  ???                              -tobuki
                                   |
                                   [ Ito-san: kotobuki? ]
Sign:
  Hizuka Snack                     hizuka sunakku
 
Sign:
  [...] Shinagawa          ?? SHINAGAWA
                           |
                           [ Sylvain-san: Can't read the ?? in the sign,
                                it's too small.  ]
Sign:
  [...]SEIDOU            [...]SEIDOU KESHOUHIN
  Beauty products        |
                         [ Sylvain-san: Probably SANSEIDOU KESHOUHIN, a
                              famous beauty products company in Japan.
                           Ito-san: No, I guess it's SHISEIDOU. SANSEIDOU
                              is a publisher. ]

{ Sylvain-san: Most of the words here are the names of the shops.
          When you go to an Onsen (hot springs) there are usually a lot of
     shops and restaurants around it. In some places, there is only one
     onsen; in some other places, all the hotels have their own pipe coming
     from the source, like in Atami. }
 
2
Mitaka:
  What?                                 nanda,

  You're still back here?               mada konna toko ni itanoka.
     or:                                still this place    are
  You're still in such a place?
     or:                      ._
  You still with us?
     or:             =;
  You still coming?
                     =;
  You don't have                        TAIRYOKU nai na, kimi wa,
  any strength, do you?                 strength not     you
                     ._
Godai:
 (In addition, someone    (omake ni KANKEI nai no wa tsuite kuru shi......)
  who has no business      |        relation           follow
  here came along......)   |
                    -=     [ Melanson-san: "omake ni" could be
   { The version above                     "To make matters worse," ]
     uses the singular. }

     or:
 (In addition, some who    <-- [ Williamson-san: A trifle more
  have no business here                  idiomatic, perhaps. ]
  came along......)
                    ./
     or:
 (In addition, some
  who are not related
  came along.....)  ._
  |
{ Sylvain-san: Hard to tell if Godai is referring only to Mitaka or the
     whole bunch. I choose the plural here.
          [The Japanese language does not distinguish between singular
           and plural in most situations. Ed.]

  Liu-san: Most likely Mitaka.  Chinese makes no distinction between
     singular and plural in most situations as well.  In those
     circumstances, it's usually interpreted as referring to one person.

  Ito-san: Only Mitaka, IMO. MI inhabitants are "related."

  Tarigan: Yes, I think Godai must be referring to Mitaka, because at this
     moment he is glaring at Mitaka. The loon squad, he might be able to
     tolerate, but Mitaka definitely must go.  }

Sign:                    
  [...]uu        <-- [ Sylvain-san: The sign probably stands for (manju)u.]
 
3
Mitaka:
  Hang on, now I'm        ganbare, MIMAMOtteite yarukara.
  here to escort you.     |
                          [ Sylvain-san: "ganbare" is used to encourage
{ Johnson-san: Hang on         people. "MIMAMOru" is to "protect with a
     really doesn't            watch", "look upon"--"to escort" in this
     sound all that            case. ]
     encouraging to me. }

     or:
  Don't stop now, I'll
  clear the way for you.
                     ./
     or:
  Hang in there.
  I'm here now to escort you.   =;

Godai:
  Instead of escorting        MIMAMOru yori, NIMOTSU MOtte kudasai yo_.
  me, how about carrying      |
  some luggage!               [ Sylvain-san: The little "tsu" after "yo"
                                   suggests a sharp end to the sentence,
4                                  thus the addition of a "!".]
Three tea cups on a table.
 
5
Godai:                                     ____
  Can't you have any          antara ni wa kega NIN   wo itawaru
  pity on a poor guy          you          hurt person
  like me?!    -=             |
                              KIMOchi ga nai no ka!?
                              feeling    none
     or:
  Have you no feelings    <-- [ Williamson-san: This keeps with the
  for the wounded?                 indirect means Godai uses to refer to
                                   himself. Alternately, substitute
     or:                           "sympathy" for "feelings." ]
  You could show a little
  sympathy for somebody who
  just got out of the hospital!  ^'       <-- [ See below for explanation. ]

{ Sylvain-san: [Regarding the first rendition]
     How about "convalescent" or "wounded guy" instead of "poor guy"? It
     will be closer to the original text.

  Melanson-san: I like "convalescent" better than "poor guy" also --
     although the latter might be what Godai would say -- unintentional pun
     there. "Convalescent" isn't exactly a word that rolls off your tongue
     in colloquial speech.  Throwing literal translation to the winds, how
     about "You could show a little sympathy for somebody who just got out
     of the hospital!"

  Tarigan: Yup, I didn't realize I had made a pun until you pointed it out
           to me.  :)
     You may notice that I often deviate from the original text. That is an
          unfortunate consequence of not knowing enough Japanese to come up
          with a good translation. So I wing it.
     Regarding the punctuation, I prefer to use the "?!" sequence rather
          than the "!?" one. Takahashi-san almost always uses "!?". Either
          order is fine, I guess.

  Mark-san:  re: "Convalescent"
     "Convalescent" seems like too upscale a phrase for Godai (after all,
     if you have him talking like William F. Buckley, it doesn't make sense
     that he can't pass his exams, right?)  I thought of something like
     "Hey, take it easy, I'm an invalid" here.  Another good term (tip of
     the _boshi_ to J.I. Rodale's "Synonym Finder" here) would be
     "outpatient".
}

Ichinose:                       ______
  Can I help it if              janken ni YOWAi anta ga WARUin daro.
  you lost in Janken?                     weak  you     bad
                    -=
     or:
  You, who is not good at       <-- [ Sylvain-san: Sorry if
  janken, are the one to blame.     |    sometimes I stick
                                    |    too close to the
     or:                            |    original text.
  Blame yourself if you're      <-- |    Please, feel free
  not good at janken.               |    to add or delete at
                                    |    will my suggestions. ]
     or:
  You're the one who's    <-- [ Williamson-san: there does not seem to be
  weak at Janken.                  any direct implication of "blame";
                                   Ichinose is pointing out the obvious. ]
     or:                        Tarigan: Probably the word "warui" assigns
  It's your own fault if                 blame. Can someone help with this?
  you're no good at janken!     Sylvain-san: Sorry if I'm back to the
                       ^'          "janken case", but I couldn't resist
{ Ito-san: Isn't this              asking my teacher about this one. In
     "Can I help it if             this case, Godai is "warui", i.e.
      you won in Janken?"          "wrong" to complain and/or to be weak at
  Tarigan: Yeah, it depends        janken. Thus, "blame yourself" or "it's
     on how you look at it.        your own fault" are good translations,
     You could say Godai           but Harold's version [the last one here]
     was good at Janken            sounds more natural to my non-native
     and won the right to          ears. ]
     carry the luggage. ^_^ }

{ Sylvain-san: Fumiko prefers Harold's translation, but she would like to
     read: "It's your own fault if you're no good at janken, isn't it?"
     "darou", like "deshou", is a conjectural form which implies the
     approbation of the interlocutor. But IMHO it's not always necessary to
     translate it.

  Tarigan: The annotation for Janken is so large that it deserves an entry
     in the Additional Notes--see "Janken". }

6
Mitaka:
  At any rate, this           sorenishitemo kitanai HEYA desu ne--.
  is a [rather] dirty                        dirty   room
  room, isn't it?
                              [ Sylvain-san: "rather" is not necessary.
                                   There is no nuance here, the room IS dirty.
                                   The illustration shows it well. ]
Godai:
  That's strange...           okashii na--,

  Didn't we have              motto ii HEYA ni TOmareru dake no
  enough money to                  good        stay over
  get a better room?
                              KANE wa, atta hazu desu yo.
                              money
Kyoko:
[ `kara...', she opens        [ Sylvain-san: The food on the table
   a sliding door ]                          might be manjuu. ]
 
  Oh...                       ara...
 
{ Sylvain-san: Kyoko is surprised. Why? It is important because it will be
     the pretext for many of the jokes in the episode. Ms. Takahashi can
     start a gag with a little remark, but it always takes unexpected
     developments. Syd Field calls this a plot point.

     Note: Syd Field is a kind of guru in the film-writer industry. He
           wrote a book called _Screenplay_ which became the bible for
           those who wants to write movie scripts. His vision of the movie
           plot is quite simple, but it seems good enough for Hollywood.

  Ito-san: I think the reason is shown in the following lines. Is there any
     other implication?  }

============================================================
p8   PW238
1
Kyoko:
  I thought it was a       OshiIre ka to OMOttara......
  closet.....
 
  The divisions of the     HEYA no shikari ga fusuma ICHI MAI nante.       ._
  rooms only [consist]     room                        one
  of one sheet of          |
  paper.                   [ Tarigan: A fusuma is a kind of wall that is made
                               out of thick opaque paper and is used for
Ichinose:                      interior walls to separate rooms. This is the
  Wa ha ha ha                  same kind of wall used as the door for
                               `oshiire' <closets>. ]
2
Godai:
  What did you do            Uita   KANE, nan ni TSUKAtta n desu.          ._
  with the money?       frivolous/   money
           -=               saved

     or:
  Gay money [I see],            
  what did you use it
  for?     ._                   [ Ito-san: Uita means "saved" here.
                                  Tarigan: So it looks like the first
     or:                                   attempt was correct. ]
  You spent the money
  frivolously, didn't you?   
           ./
     or:
  What did you do with
  the money left over?
           `~

Ichinose:
  We saved it for        KONBAN no ENKAIHI ni KImatten daro.
  tonight's dinner.     this eve

     or:
  We saved it for tonight's party.    ./

{ Sylvain-san: ENKAI is a banquet. The word is often used in Maison
     Ikkoku, but they use it more like "party". They also use "patto".
     "Patto shiyou" = Let's party!

  Tarigan: Umm, shouldn't it be "paatto" instead of "patto"?

  Ito-san: Yes it's "paatto". "Paatto" doesn't mean enkai or party. It's an
     onomatopoeia that represents making merry. In addition, it's "paatto
     ikou", not "shiyou".

     "Party" is closer to ENKAI than dinner.

  Sylvain-san: Oops, I must have used gaijapanese (Gaijin-Japanese^_^)
     here. This crazy guy from Australia (we used to call him KOALA-CHAN)
     well he used to shout "PATTO SHIYOU" every time the teacher had to
     leave the classroom. I thought it was the proper form. My mistake.
     Moushiwake arimasen.  }

3
Kyoko:
  So that's why......     kore da mono.........                            ._
 
  I knew I should have    yappari WATASHI ga KAIKEI GAKARI yarubeki dattawa.
  taken care of the        after     I                      should
  budget...                 all                              have
                                                                           ._
     or:
  I should've been in charge
  of the budget after all.   ./
 
Ichinose:
  Don't worry,           KInishinai, KInishinai.                           -=
  don't worry.
 
4
Ichinose:
  Sa, let's have a       sa, YUUHAN MAE ni hitopPURO abiteko yo.           ._
  bath before dinner.        dinner  before
 
     or:
  Okay, let's go have a
  bath before dinner.

     or:
  Well, lets have a bath before dinner.     =;

{ Sylvain-san: I'm not sure if it is "YUUHANSEN ni" or "YUUHAN MAE ni".
     The first reading seems more appropriate here.

  Ito-san: It's YUUHAN MAE ni. And, the kanji "mae (front, before)" reads
     "ZEN", not "SEN" in its on'yomi.

  Kanaya-sensei: Considering the level of language of Ichinose-no-kaachan,
     "YUUMESHI-MAE" instead of "YUUHAN-MAE" might be a more appropriate
     reading here.

  Sylvain-san: HitopPURO = one bath. (The Japanese count everything.)

  Ito-san: It's an idiomatic expression rather than counting.
     e.g. hitopPASHIri, hitotTObi  }

Akemi:
  Yes, yes, and the                so-- so--, FURO dake wa
  bath is also the only
  thing we can use freely.         hairi HOUDAI nandakara.                 ._
 
{ Sylvain-san: HOUDAI, a word all gaijin in Japan are looking for...
     It is frequently used in TABEHOUDAI = all-you-can-eat. Here, it means
     all-you-can-bath. ^_^

  Ito-san: ...HOUDAI = can do ... as much (or many times) as you like.  }

5
Yotsuya:
  All right, let's go.        soredewa ware ware mo
                    -=                 we        too
     or:
  In that case we go too.
                    ._
     or:
  In that case,       <-- [ Williamson-san: This fits more with Yotsuya's
  we shall also.               affected airs of aristocracy -- he sometimes
          ./                   uses "fancy" vocabulary seemingly for the
                               sake of doing so. All the more reason I like
                               his character. ^_^ ]
Godai:
  I agree.          `~      so-- desu ne.
     or:                    |
  I think so too.   `~      [ Sylvain-san: "So-- desu ne" is used in so
     or:                         many contexts, there is no single way to
  That's true.      ./           translate it. ]
     or:
  Good idea...      ^'

  I'm completely            su--kkari ASE wo kaite shimatta.
  covered with sweat.  ._
     or:
  I'm drenched with sweat.    ./
 
6
Sign:                    
  Large Bathroom         DAIYOKUTOU
 
{ Sylvain-san:  ???  I think Ms. Takahashi made a mistake here. The last
     kanji must be JOU, thus DAIYOKUJOU = Large bathroom. The mistake is
     easily understandable, because the right part of the kanji is the same
     in both TOU and JOU, but the radical (left part, or hen) is different.
     SUI-HEN for TOU and CHI-HEN for JOU.

  Ito-san: I was unaware of this mistake.
     SANZUI for TOU and TSUCHI-HEN for JOU.

  Tarigan: I'm not sure that she made a mistake. TOU (sometimes pronounced
     YU) is the same kanji used to mean "bath". That's my feeble guess.

  Liu-san: A side note: the Kanji used for "bath" in modern Japanese means
     "soup" in modern Chinese.  The way I see it, the word used to refer to
     hot water, but over the course of time the meaning got specific.  I've
     broken up the Kanji and (it's fun; try it if you haven't done so
     before) the most meaning I can get out of it is "treated water".

  Sylvain-san: Fumiko says there is no such thing as DAIYOKUTOU and that
     there is no doubt that the appropriate reading should have been
     DAIYOKUJOU. If you have the _Nelson_, compare entries 1113 (JOU) and
     2633 (TOU) and you will see that they can easily be confused. And I
     don't think Ms. Takahashi did it intentionally.

  Liu-san: If she confused the two words, then she must be very bad with
     Kanji.  Those words are at grade-school level.  IMO, both readings
     work out in Chinese. "daiyokutou" looks strange in Chinese, but it's
     still understandable.
}

Left noren:
  Women's                ONNA
 
Right noren:
  Men's                  OTOKO
 
{ Sylvain-san: Just a note. Usually, in traditional places, people will
     read the kanji using the ONYOMI (chinese reading). Maybe it is better
     here to pronounce the kanji as NYO and DAN, but only a native Japanese
     can answer that.

  Ito-san: No, kun'yomi is appropriate here. Otoko and onna on the noren of
     public baths can also be considered as abbreviations of otoko-yu
     (men's bath) and onna-yu (women's bath).

  Tarigan: A NOREN is a type of half-curtain made out of hanging pieces of
     cloth usually sown together at the upper part such that the hanging
     parts easily split apart for passing through. Noren are different from
     ordinary curtains in that they aren't used at windows, but are instead
     used as a sort of door at entrances.

     Noren made out of thick cotton dyed in the color indigo, dark-blue,
     brown, etc., are the traditional signs hung in front of the entrances
     of some stores, restaurants (sushi, tempura, udon, sukiyaki, yakitori,
     etc.) and public baths. They generally have upon them the name of the
     business.

     From what I've seen, it's more common to have the women's bath on the
     left, and the men's bath on the right side.

     The women's and men's baths weren't always separate. Before western
     ideas of prudery invaded the country, men and women used to bathe
     together without any embarrassment. They still do, in some rural areas
     of Japan--places where the sight of a foreigner is a rare sight
     indeed.

  Williamson-san: And to think there are those in America who are worried
     that "Western values" will be undermined by the Japanese. *laugh*
     Given the number of foreign terms which pervade Japanese culture, not
     to mention some of the customs, it seems to be more the other way
     around.
}
 
7
Godai:
  fu--.
 
`jororororo...', water flowing in from a pipe.
 
`su su su', Yotsuya sliding through the water.
 
`basha basha', Kentaro doing laps.

{ Sylvain-san:
     Note how the place is designed: At right, people are washing before
     going in the water. They sit on little benches and wash in front of a
     faucet (out of the frame, but can be seen on page 241). They use the
     buckets to soak their tenugui with soap, then rinse with clean water.

     At left is a large bath where the hot water keeps on pouring. The bath
     is usually at the same temperature as the natural hot springs, but
     they have to heat the bottom of the bath in some places. It is HOT,
     very HOT. So hot you don't dare to move. By the way, it is very
     impolite to swim in an onsen, like Kentarou.

     This place is commercial. There are some natural resorts, and Godai
     will go to such a place in a future chapter.

  Williamson-san: Kentaro's young, he doesn't know any better. You think
     his mom has drilled Miss Manners into him? ^_^

  Tarigan:
     It seems a bit weird, but I guess if they treated this like a swimming
     pool, then you could say they were skinny-dipping. }

  Mark-san:
        re: What area is the Onsen in?
     When I was visiting Japan last August, I did my homestay in Gunma
     prefecture.  This is supposedly THE onsen place in Japan, or in Kanto
     district, anyhow.  There are three big ones, Kusatsu, Minakami and
     Ikaho.  I went to Kusatsu on a road-trip, but wussed out of going into
     the onsen (it was a nasty, drizzly day; I was afraid of catching cold
     by going out into the rain after bathing.  Also the pervasive smell of
     the sulphur in the water was a big turnoff--it was literally
     everywhere you went.  Maybe if there's better weather next time,
     though...)
  
     The procedure at Kusatsu is supposed to be:  You stand on the edge of
     the onsen (which is sex-segregated, like in the story [of this MI
     chapter]) and there's a kind of long board that you stir up the
     water with before you get in.  This is supposedly to cool the water
     down, which probably isn't a bad idea since my old guidebook says the
     usual temperature is 60-67 degrees celsius!  Then you get in the onsen
     for 3-4 minutes. The idea is to stay motionless, because the
     experience is trying enough on its own.  There's a guy who calls out
     "3 minutes to go", "2 minutes", etc; then finally "please get out of
     the water _slowly_!".

     Did you mention Netsunoyu in the text?  The main public bath at
     Kusatsu is called Netsunoyu.

  Tarigan: Netsunoyu? I don't think it was referred to in this translation.

  Sylvain-san: I went to the onsen on four occasions: Near Koumi
     (Nagano-ken), in Ito and Atami, both located in the Izu peninsula
     (Shizuoka-ken) and at Yumoto (Tochigi-ken).
          I would like to risk Atami in the Izu peninsula. It's a popular
     destination for Tokyoites, because it's easily accessible from Tokyo
     by Shinkan-sen. Furthermore, Atami is full of ryokans and onsen
     resorts. But the large glasses are exactly the same as those at the
     onsen I went to in Koumi, and the surrounding mountains looks alike.
          But we'd better ask Ms. Takahashi about this ^_^.
}
------------------------------------------------------------
p9   PW239
1
Godai:
 (It's nice to be          -=      (yappari   KIMOchi iina.)
  here after all.)                  after all feeling good
     or:
 (It's nice after all.)    ._      [ Sylvain-san: I don't see the "to be
     or:                                here" nuance in the original text.
 (I feel good after all.)  ._        Tarigan: That first attempt is just
     or:                                me translating liberally. ]
 (I feel good [about this]
  after all.)              ./
     or:
 (This does feel good.)    =;

 (I'm glad I came.........)        (KIte yokatta.........)                 -=
  
`jorororo...', water          [ Ito-san: Note that he had said "I shouldn't
 flowing in from a pipe.           have come" and changed easily. His
                                   opinion will change later too. ]
2
Yotsuya examines the edge of the wall.
 
3
`su su su', he's moving just below the water.
 
4
`kon kon', he taps on the wall.
 
5
Mitaka:                                           _yotsuya_
  What's Yotsuya up to?        nani wo yatte runda YOTSUYA-SHI wa.
     or:
  What's Mister Yotsuya up to?     ._
     or:
  What's that Yotsuya up to?       ./
 
{ Sylvain-san: -SHI is used like -SAN, but it is usually a written word.
     It is used for people with no special title.

  Ito-san: -SHI is more polite and stiff than -SAN. Here Mitaka uses it
     because he's not very intimate with Yotsuya.

  Liu-san: Yes, it is rather stiff.  "Shi" is a title no longer used in
     Chinese except for academics and the military.
}
 
Godai:
  Yotsuya-san,                      YOTSUYA-san, i--kagen ni shinasai yo.
  stop that!

  We didn't come all                konna toko made KIte nozoki nante......
  this way to peep......            |               come peep
                                    |
`basha basha', Kentaro              [ Tarigan: On the other side of the 
 continues to swim                       wall is the women's bath. ]
 on his own.

Yotsuya:
  Oh!                               o_.
 
6
Yotsuya:
[ gesturing with his hand ]
                                   _godai_
  Godai-kun, Godai-kun,             GODAI-kun, GODAI-kun, chotto chotto.
  come here, come here.
 
{ Tarigan: The gesture that Yotsuya is using--waving his out-turned palm up
     and down--is the Japanese way of beckoning to someone. Etiquette says
     that you don't use this gesture to superiors, as it is too informal.

  Liu-san: It's a common gesture in Asia.  If it originated anywhere then
     it would be in the Chinese regions.

  Tarigan: In western terms, this is the gesture that you would use to say
     goodbye--to get someone's attention, we would turn the palm towards
     us, which is the opposite of the Japanese gesture.

  Williamson-san: Yotsuya, like nearly everyone else in MI (save Kyoko and
     Kozue-chan), treats Godai as an inferior, as is usually evidenced by
     their calling him "Godai-kun".

  Liu-san: Not really.  "Kun" is not used to mean disrespect but more of
     familiarity on a peer level.  In Chinese, the Kanji for "elder
     brother" is used for this form of address.  (Kanji for "elder sister"
     for "chan") It's still common today. Actually, a few years ago a
     friend of mine wrote a letter to me that started off with "Liu-kun".
     (Of course, the Kanji for "elder brother" goes in the place of "kun")

  Williamson-san: Pure digression time: I always fancied that, after Godai
     and Kyoko married at the end of the series, Yotsuya (at least) would
     accord him the respect of calling him "Godai-san". If nothing else,
     the abrupt switch in terms of address would be a very Yotsuya thing to
     do. ^_^
}
 
Godai:
[ `doki...', heart thump, sudden excitement ]

  Eh?                    e_.

                         [ Sylvain-san: He he, in frame 6 and 7, the
                              men start to "sweat". I love this effect;
7                             it is so hilarious in some situations. ]
Godai:
  Wh- what is it?        na_, nan desu ka_.
 
`ji~~~..', Yotsuya   <-- [ Tarigan: `ji~~~' is a sound effect that
 intently peers              indicates concern, concentration, worry, or
 into the wall.              expectation. Don't confuse it with the sound
                             effect `ji~~~n'.
`za_ za_', Godai           David Oakey: I asked a Japanese friend about
 approaches.                 sound effects: "ji~~~n" means "kandou suru" or
                             "moved" (with emotion) as in "It was a moving
                             experience." ]

============================================================
p10  PW240
1
Yotsuya:
  Look. Here......       ho, hora koko......                               -=
                                  here
     or:
  Hey. Look here.....   <-- [ Sylvain-san: "ho, hora" in this case probably
                                 doesn't show hesitation but an insistence.
                                 This is why I suggest to insert "Hey". ]
Godai:                          
  Eh.                    e_.
 
2
Godai:
[ `ji~~~', he looks at the wall ]
 
  ?
 
3
Godai:
  I- I don't see         na, nani mo MIemasen ga......
  anything......             thing   not see  but

     or:
  I, I can't see
  anything but......     ._
 
{ Sylvain-san: MIERU = can see. What do you think about the nuance? Godai
     WANTS to see something but he can't.

     The "-ga" at the end of the sentence is a problem. Is it supposed to
     be translated or not? Here the nuance can be: "I can't see anything
     but (I really want to) (I'm trying hard). I thought it might add a
     humorous touch to include "but" in this case.

  Ito-san: This should be interpreted as "I can't see anything but (can you
     see anything?)"

  Kanaya-sensei: I do not support the version ending with "but". }

Yotsuya:
[ pointing to a spot in the wall ]
 
  Here. Look here.         koko desu yo. koko.
 
4
Yotsuya:                          ____
  Don't you see?           hora_, koke ga HAeteru.                         ._
  Moss is growing.         |
                           [ Sylvain-san: "hora". Like in any language,
`dopu---n', Godai falls         interjections can have many different uses
 into the water in              depending on the context. "Don't you see"
 slapstick fashion.             seems appropriate in this case. ]

5
Godai:
  What was that               dakara nanda_ tsu--n desu!?
  all about?!       -=         so     what
     or:
  What were you
  talking about?!   ._
     or:
  What do you
  mean by that?
     or:            `~
  What's so important
  with that?        ,,

{ Sylvain-san: nan da to iu n desu. "To iu" became "tsu". It is used in
     this case to express a strong emotion, but I heard that it can be a
     dialectical form in some area of Japan.

     Even if he is angry, Godai still uses the polite form (no desu) with
     Yotsuya. How is it possible to translate this particular feeling?

     Don't know about you, but a scene like this one always makes me
     smile. }
 
Yotsuya:
  What were you             nani ga MIeru to OMottan desu?                 -=
  expecting to see?         what    see      think

6
Kyoko:
  Aa,                       aa,

  nice feeling.             ii KIMOchi.
                           good feeling
     or:
  Ahh, feels good.   -=
 
7
Akemi:
  Kanrinin-san, would       KANRININ-san, SENAKA NAGAshite ageyo~~~ ka.
  you like me to scrub      |
  your back?                [ Shambaugh-san:
                                 It means "Shall I scrub your back for you?"
                                 because the "ageru" verb implies giving
                                 somebody something OR doing them a favor. ]

{ Sylvain-san (addressed to Tarigan): I checked in the previous translation
     you did and saw that you chose to use "kanrinin-san" in your
     translation. It is very difficult to find a good equivalent term. I
     think that in France, where people are less engrossed with titles than
     in Japan, they would simply use kanrinin-san's first name, Kyoko.

  Williamson-san jumps in: In a manga like this one, where the development
     of relationships between characters can be marked by something as
     simple as forms of address, it's probably best to preserve the
     original intent. Akemi and Yotsuya always accord Kyoko the deference
     implied with "kanrinin-san", as does Ichinose (most of the
     time--though in a couple of the TV episodes she refers to her
     indirectly as "Kyoko").

  Liu-san: Don't know about you guys, but I've always had a picture of
     Yuhsaku and Kyoko having an argument after their marriage and
     Godai--the weaker one--slips into "kanrinin-san" unconsciously when
     losing.  :)
}
 
Kyoko:
  Would you, please?               oNEGAi shimasu wa.
                    -=
     or:
  Yes, please.
                    `~
8
Three men and a boy.

`kya_ kya_',
 sound of girls'
 screaming/conversation.

`basha basha',
 Kentarou is continuing
 his 400m free-style
 in a 10m bath.          ._
 
{ Sylvain-san: I don't know if this particular episode was adapted for TV,
     [Yes, it was. Ed.] but it is very funny to imagine Kentarou
     imperturbably racing through the screen while the men are thinking
     about seeing naked women. Sorry if I sound too enthusiastic, but
     Ms. Takahashi is really one of my favorite mangaka. }

------------------------------------------------------------
p11  PW241
1
`bito~~~', Yotsuya stares at a crack in the wall.
 
Yotsuya:
  Isn't that great.        i--desu na, ONNA no HITO wa hanayaka de.        ._
  Women are gorgeous.
 
{ Sylvain-san: Yotsuya does not see anything. He's just trying to justify
     his action.
          How can "i-- desu na" be translated? Here, it implies
     self-satisfaction. "Boy", or "Isn't that great". }
 
Godai:                               _____
  Again! Are you a            mata_, imori desu ka anta wa_.               ._
  water lizard?!              |
                              [ Sylvain-san: Imori = newt, water lizard.
     or:                           Water lizard seemed funnier here. ]
  Again! What kind of           Tarigan: What connotation does "newt" carry
  water lizard are you?!           in Japanese?
                                Sylvain-san: Kanaya-sensei says there is no
                                   special connotation in Japanese to
                                   "imori". It's just that, in this
                                   circumstance, because he sticks to the
                                   wall of rocks, Yotsuya looks like a
                                   lizard. ]
2
Mitaka:
  Godai-kun, you're in              GODAI-kun mo HITO wo HINAN dekiru      ._
  no position to                                person
  criticize people.
                                    TACHIBA   ja nai daro--.               
     or:                            standpoint
  Godai-kun, you're in no           |
  position to criticize him.        [ Sylvain-san: Mitaka implies that
                                         Godai is as perverted as Yotsuya.
     or simply:                       Ito-san: HITO here obviously
  Godai-kun, I don't think               designates Yotsuya.
  you can criticize him.                 "...to criticize him" is
                    `~                   also a possible translation. ]
     or:
  Godai-kun, you're in no
  position to criticize others.  ._

Godai retorts with
a mean look.

Yotsuya:
[ continuing to examine the wall ]
 
  Reeally, eeeveryone      so--desu, mi--na HONTO wa MItain desu           ._
  wants to peek.           |
                           [ Sylvain-san: Yotsuya is implying that both
3                               Godai and Mitaka are as perverted as he is. ]
Mitaka:
[ turns to confront
  Yotsuya's back ]

  I'm telling you this     Ittokimasukedo, boku wa nozoki no               ,.
  once and for all:        tell/say   but   me     peeping
  peeping is no hobby
  of mine.       ,.        SHUMI wa arimasen kara.
                           hobby             [reason]
                           |
                           [ -te+oku = to do something in preparation ]    ,.
Yotsuya:
  Is that so?            sai desu ka.

[ First attempt: "Is it a talent then?" ]
|
{ Sylvain-san: Yotsuya certainly made Mitaka look like a fool. Heh heh!

  Ito-san: This 'sai' is not for 'talent.' It's a vulgar/dialectical
     variant of 'so.' [`So' as in `so desu ka'. Ed.]
     One possible translation will be "Is that so?"

  Tarigan: Darn dialects... I had come up with the same answer as Sylvain-san.

  Sylvain-san: Gulp! I must go back to basics. My teacher told me that it
     might be Kansai-ben. After Japanese, I will start to learn
     Kansai-ben ^_^. But this was such a nice pun. In such a case, shall we
     make a literal translation or "improve" the text?
          IMO, we MUST respect Ms. Takahashi's script as much as possible.

  Tarigan: I know what to do: let's show both renditions and then explain
     it in the annotations.  }

`joborororo..', flowing water.
 
4
Akemi:
[ scrubbing Kyoko's back ]
  Kanrinin-san, you             KANRININ-san, HADA kirei ne.
  have nice skin.                             skin pretty

Kyoko:
  Really?                       sou kashira.
 
Ichinose:                                ____
  Really. It's so               ho--nto, hari ga atte......
  smooth......                  |
                                [ Kanaya-sensei: In this case, Ichinose is
                                     referring to the skin of Kyoko.
                                     Hari ga aru = smooth, polished.
                                     Hari ga nai = shriveled, shrunken. ]
 
{ Jang-san: Those four white squares on Ichinose's back are medical
     plasters. Sort of like bandages, except it's all adhesive on one side
     with no cotton pad at all.  The bandage itself is saturated with a
     strong smelling medication. Use is to soothe aching muscles. After a
     few hours of usage, it is ripped off (ow!) and tossed out. It's much
     more effective to speeding up pulled muscles than sitting around, eh?

  Carragher-san: These things, if you're not adept at using them, can be a
     real pain in the ass, especially if you don't have someone who can
     help you put them on a hard-to-reach spot.  I pulled some back muscles
     when I was in Japan in '92, and was given these and told to use them
     until they were gone. Having to put four of the bastards on each
     morning was *not* fun.  (You do find out who your friends are really
     quickly, though.)  Plus, they tend to come off partially, and if
     you're wearing clothes, they tend to aggravate the situation.  And if
     they're not directly touching the skin, they're useless.  (Yes, my
     recovery was a little longer than the docs expected....)

     And yes, they are saturated with a *very* "strong smelling
     medication."  You *cannot* miss it.  I'd suggest washing your hands
     immediately after applying them.  Eating becomes a problem, otherwise.
     B-)
}

5
Voice (Akemi?):
  With such boobs, you             MUNE   nante, mada JUUDAI
  can pass for a teenager.         breasts            teen

     or:                           de TSUUYOU suru wa yo--.                ._

  With breasts like yours,
  you could pass for a teenager.   -=

{ Tarigan: The speaker is most likely Akemi. It seems to be the sort of
     thing that Akemi (rather than Ichinose) would say.

  Sylvain-san: Juudai = Teenager.
               Nijuudai = someone in his twenties.
               Sanjuudai = someone in his thirties.

  Ito-san: Rather, juudai = teenage (exactly 10-19), nijuudai = one's
     twenties, etc. And there are some old-fashioned words such as misoji
     (one's thirties), yosoji (one's forties)...
}

Voice (Kyoko):
  What are you saying!        iyada--.
     or:
  Oh, come on!               [ Tarigan: Notice that at all times Kyoko's
     or:                          breasts are tastefully concealed, while
  You're kidding me!              you can see Akemi's on p10,7 and
                    `~            p16,1-2. Well, Ichinose doesn't get any
                                  exposure either (would you want that?). ]
`kya_ kya_', sounds
 of mirth.

Mitaka and Godai
are going cross-eyed
thinking about what
they just heard.
 
Godai:
  .........
  .........
 
6
While Godai is beside himself imagining a naked Kyoko
(from the chest up), Yotsuya comes up with an idea.
 
Yotsuya:
  Oh!                         a_.
 
{ Sylvain-san: The Kyoko that Godai is seeing is, in fact, a teen Kyoko.
     Compare with the Kyoko of the facing page (PW240) and you will see
     that she looks quite younger here.

  Carragher-san: I noticed this as well.  However, the comparison used is a
     little deceptive.  A better comparison might be with the Kyoko in
     panel 4 on this page.  Also, I thought that the aforementioned Kyoko
     might be very relaxed and perhaps a little sleepy from the hot onsen.
     The other two women show this same "effect," and promptly lose them
     when they start showering.

     Hey wait, I just realized ...!!

  Tarigan: What did you realize?!

  Carragher-san: Okay, here's my impression of the "proper" way to take a
     bath at a sento or onsen:  you wash the crap off your body before you
     get into the bath itself.  So after having written that 100-line
     description of my experience at a sento [see Carragher's annotation on
     p3. Ed.], I suddenly realized that what I thought was my breach of
     etiquette was somewhat duplicated by the women in the above-mentioned
     panels.  That is, they were in the onsen, and now they're washing each
     others' backs.

     But somebody recently posted that it's "okay" if you wash off, but
     don't SCRUB, so I guess this is proper bathing etiquette.  Besides,
     Kyoko would *never* do something improper.  B-)

  Sylvain-san: Maybe it is the same for men in other countries, but I know
     that the Lolita complex (to make love with children) is not an
     uncommon sexual fantasy amongst Japanese men. Some of them dream of
     deflowering teenagers wearing school uniforms. I read recently in the
     news that highschool students were selling their panties to some
     hentai men. They had to wear the panties at least one day and those
     panties sold for around 5000 yen. Anyway, let's laugh at the feeble
     Godai-kun who can't help it but fall into his pervert weaknesses. He's
     still just a young boy after all.

  Johnson-san: I'm surprised that with the mention of 'lolicon' that there
     was not a footnoted reference to the novel "Lolita".

  Tarigan: Well, why don't you write the footnote and a little description
     then? I don't know anything about this novel.

  Ito-san: Bloomers are athletic pants. They also sell their used school
     uniforms (especially sailor-style uniforms) and their used underwear.
     The specialty shops where girls sell their clothes and men buy them
     are called 'burusera <bloomer + sailor> shops.'

  Tarigan: Sad, isn't it?  ^_^;
}
============================================================
p12  PW242
1
`SHIPA_', Godai and Mitaka rush towards
 Yotsuya with zeal in their eyes.
 
Godai:
  What is it?!             doushimashita_.
                           how   do
Yotsuya:
  I just remembered        JUUYOU na koto wo OMOiDAshimashita.
  something important.     important  thing   remember
 
2
Yotsuya:
[ licks his thumbs
  and puts them
  into his ears ]

  There is the           YOKUSOU ga SHITA de tsunagatte iru,
  possibility that       bathtub    bottom   be connected
  both baths might
  be connected           to iukoto mo ariEru.
  underwater.                 thing   possible

     or:
  It's possible that the
  bathtubs are connected underneath.      ./

     or simply:
  The bathtubs may be perhaps connected underneath.    `~

{ Sylvain-san: I don't know exactly what he's doing. Licking his thumbs
     before putting them into his ears? For what purpose? To prevent the
     water from going into his ears while he will be underwater?

  Ito-san: Yes. Some people do this before swimming. Personally I don't
     believe this method is effective.

  Williamson-san: Might be to prevent sudden water pressure adjustment...
     submerging quickly, even in a relatively shallow pool, can be hard on
     the ears.  }

3
`DOBO_', Yotsuya submerges.
 
Godai:
  Wa, wait Yotsuya-san...          cho, chotto YOTSUYA-san...

4
Mitaka:
[ `su--', he takes in a breath ]
 
  N- no! I can't let               i_, ikan, SHITA kara nozoku nante.      -=
  him peep from below!             can't go  bottom  from  peep
     or:
  We can't peep from below.   ,,

Godai:
  Stop it, Yotsuya-san!!           yamenasai, YOTSUYA-san_!!
                                   stop
`dobo--n', Godai dives down.

5
`Dobo~~n', Mitaka is
 the last to dive in.         [ Sylvain-san: Note the "trail" Godai
                                   leaves in the water as he's in hot
`za za za'                         pursuit of Yotsuya. ]
 
`basha basha', Kentaro sits
 at the edge and splashes the
 water with his feet.

6
`GABO GABO GABO',
 Kentaro watches on as there
 is some struggling under the water.
 
7
`puha_', surfacing, Mitaka lets go of his breath.
 
`su--', Yotsuya pokes his head out of the water to take a breath.
 
8
Yotsuya:
  It won't do.      -=       mairi mashita ne,
                              give way
     or:
  I was beaten.     ._       [ Sylvain-san: mairu = humble form of "go" or
                                  "come". But in this case, "admit a
     or:                          defeat", "give way". Yotsuya implies that
  I must concede.   ./            he was defeated by someone. Godai was
                                  first in the opening! ]

{ Kanaya-sensei: "Mairimashitane" doesn't imply "I was beaten".
     "Too bad" or "What a mess" will be better. }

  The opening is             sukima ga semai.
  too small.                 opening   narrow
 
9
Kentaro:
  Where's                    GODAI no oniichan wa?
  Godai-no-oniichan?                 big brother

                       [ Tarigan: Even in this case, I feel that it is
                            better to leave in the original form of address
                            and not give a translation for "oniichan". ]
Yotsuya:
  His leg is here.           ASHI nara koko ni.                            ._
                             leg  if  here
     or:
  For his leg,       <-- [ Sylvain-san: If you make a complete sentence
  it is here.                 here, it might be: "For his leg, it is here,
                              but for the rest of his body, maybe it is on
     or:                      the other side." ]
  Here's his leg.  =;

              [ Williamson-san prefers this: "Here is his leg."
                   Yotsuya is presenting it as if by example. ]

------------------------------------------------------------
p13  PW243
1
Godai:
[ `GOBO GOBO_', gurgling ]
 (Can't... get out...!)       (nu_, nuken......)
                                     extract

2                             [ Tarigan: It looks like the reason he can't
`gobo gobo...', a torrent          get out is because Yotsuya is pulling on
 of bubbles appear by              Godai's leg, creating an angle such that
 the wall on the women's side.     the head is stuck. ]
 
The three ladies              [ Tarigan: Too bad; the women left the bath
walk away from the pool.           before the guys could peep. ]

Ichinose:
  Ahh, that was               a--, ii   YU   datta.
  a nice bath.                    good  hot
                                       water
3
At the corner of the room,
by the TOKONOMA, Godai lies half-dead.
 
{ Sylvain-san: A tokonoma is a recess in a traditional Japanese room.
     There, you hang kakemono <a hanging scroll> and place ikebana
     <arranged flowers>. If I remember correctly, when there is a guest of
     honor, you're supposed to place him in front of the tokonoma with his
     back turned.

  Tarigan: From this panel onwards, almost everybody is wearing a yukata.  `~
     Over the top of their yukata are tanzen <padded large-size kimono>.   ._
}

Ichinose:
[ wielding a soon-to-be-emptied beer bottle ]
 
  What's up with Godai-kun?             do--shitandai, GODAI-kun wa.
  
Kentaro:
  He drowned in the bath.               FURO de oboretanda yo.             -=
                                        bath    drown
Kyoko and Akemi, both sitting
by the table, look at him.

Akemi:                                  _____
  What an idiot.                        bakka mitai.                       -=

{ re: Was any sake used in this chapter, or is it all beer?

  Sylvain-san: If you look only at the bottles, it's hard to tell, because
     I remember that many bottles of sake have about the same shape and
     size as the big bottles of beer. Now, the best hints are the glasses.
     The little glasses used for sake (Argh!, forgot the name, must call
     Fumiko, answer next week) are very easy to recognize, and the glasses
     used in this story are not. But Akemi (PW246,1) is holding a tokkuri
     designed for sake.

  Tarigan: By the way, sake was used in the anime version. I remember that
     Ichinose and Akemi mixed sake and beer into Godai's glass.

   re: The little glasses used for sake.
     I know what it is: "chokko" or "sakazuki". I'm not sure which word is
     more appropriate, though.

  Sylvain-san: [comes back a week later...]
     Fumiko says the proper term is "O-chokko", also known as "guimono" in
     a slangier tone.
          "Sakazuki" refers to the same object, but when given as a wedding
     gift. Note that in Japan it's the marrying couple who must give some
     gifts, not the guests. Be we should talk about this when we will
     translate Kyouko & Godai's wedding ^_^.
}

4
Godai:
 (I shouldn't have gone...)             (ONSEN   nante,)
                                        hot springs

 (to the hot springs......)             (KUrunja nakatta......)            -=
                                        shouldn't have gone

5                             [ Williamson-san: Note that he's echoing his
View of the                        earlier sentiment, upon having to haul
resort buildings.                  the whole crew's luggage to the resort. ]

Sign:
  Original Rifle Range                  GANSO   SHATEKI  YA                ,.
                                       original target  room
                                                practice
 
{ Sylvain-san: SHATEKI can refer to archery as well as to rifle shooting. I
     prefer archery because of the traditional setting. Fumiko told me
     there is no way to really know, but it seems there are many small
     shooting stands like those in amusement parks. And they used to bear
     the name "ORIGINAL", to boast the fact that they were the first. }

6
A pretty, but not                  [ Melanson-san: Isn't that slices
very substantial                        of kamaboko in the dish? ]
dinner adorns the table.

{ Sylvain-san (with help from Fumiko): The square plates are called
     "kakuzara" <plate with angles>. The small and slim fish is "sanma" and
     the stick that is placed over it is called "myouga". The large leaf
     under the fish is "sasanoha". Just beside it there is "daikon oroshi"
     <grated Japanese radish>. The rounded blackish bowls contain
     "misoshiru shijimi". How do I know it is shijimi? Check in the next
     frame.
 
     The big grey bowl in the middle is called "ohitsu" and contains the
     rice "gohan". At the extreme left, there is a small bowl of "osoba".
     There is also a pack of cigarettes ("Mild Seven" is an actual brand of
     cigarettes you can find in Japan) and a lighter.

  Tarigan: Note that SEVEN is the number of people in our party here:
     Godai, Kyoko, Mitaka, Kentaro, Ichinose, Yotsuya and Akemi. I love how
     Takahashi-san manages to put in a joke even for a tiny detail as the
     label on a cigarette package.
}

7
Godai (this line is in hand-written
       lettering and not in a balloon):

  Only one clam?            shijimi ga IKKO~~
                             clam       one

{ Sylvain, with Fumiko's help: This kind of "misoshiru" is called "misoshiru
     shijimi" and it is usually full of little clams. But in this case, the
     dinner is so scarce that there is only ONE little clam in the soup. }

Mitaka:
  Is it just me...        KInosei ka na......
                         (KI no sei = it is in my mind)
 
  ...or is dinner a       hidoku SOMATSU na  SHOKUJI
  bit spartan?            roughly  crude    meal
               -=
                          no you ni  MIemasu ga.........
                           like this look (like)
     or:
  Is it just me, or is
  dinner unusually sparse?   ./

     or:
  Is it just me or does this
  dinner really look outrageously crude?    ._

     or:
  The dinner looks so humble (coarse) but
  is it just my misunderstanding?           `~

     or:
  Is it just me or is dinner a bit sparse?  =;

Ichinose:
  Your feeling is          anta no HANDAN wa TADAshii.
  correct.                  you    judgment   correct/right
 
                         [ Sylvain-san: Look at her face. You really want
8                             to beat the crap out of her. ]
Yotsuya:
  But thanks to that       okagede tappuri SAKADAI ga DEru wake desu.      ._
  we've got plenty of      thanks plentiful  money        reason
  money for the drinks.    |                 for sake
                           |
 _____  _                  [ Sylvain-san: SAKADAI can also be read
`KANPA--I' <Cheers!>,           SAKASHIRO. Difficult readings here.
 the loon squad makes a      Ito-san: SAKADAI will do. When that kanji
 toast, as Godai and            means money, it usually reads DAI. ]
 Mitaka watch from
 the background.

============================================================
p14  PW244
1
Kyoko:
  .........
 
She, Godai and Mitaka watch nonplussed, while
Yotsuya and Akemi enjoy Ichinose's usual fan-dance.
 
`WA HA HA HA HA HA'
 
{ Tarigan: The yukata that they're wearing have a pattern of hexagons. This
    is the same design as what they had in that chapter when Godai is alone
    with Kyoko at a ryokan. Are there any other instances of this type of
    yukata showing up in the series?

  Sylvain-san: Mitaka has a different pattern. Considering he is very rich,
     I suppose he prefers to bring his own yukata. Ahh, I want to go to the
     onsen again.

  Tarigan: Whoa, wait a sec. Mitaka is NOT wearing a yukata. He is wearing
     a sweater and pants. As for the rest of the cast, we know they are
     wearing yukata, and in the case of Akemi, she's only got panties
     underneath--otherwise, she's nude. I imagine the same goes for Kyoko,
     since she's not wearing a bra (this becomes obvious in the later pages
     when they're sleeping).

  Johnson-san: With regards to why Mitaka doesn't wear a yukata, I wonder
     if it might not be to help differentiate him from Godai. I know there
     are several places in the comics where I have to check to make sure
     who is being shown in the closeups. Everyone else in the cast is
     fairly unique-looking except for Godai and Mitaka, especially when
     their faces are distorted by emotion.

  Carragher-san: Don't forget hairstyles!  Mitaka's hair has been styled.
     Godai's, obviously, hasn't.

  Williamson-san: My guess: He's trying to look as "cool" as possible. Even
     when in a casual setting, Mitaka accentuates his affluence
     subconsciously. He is the only one dressed in a nice sweater and other
     clothing, thus he stands out among them.

     Side note: Mitaka does this a lot (accentuating his "obvious"
     benefits)--he's not very secure with his position with Kyoko if he
     has to continuously underscore his rival's (Godai's) shortcomings.

  Carragher-san: For bloody good reasons!  I was in a similar situation, so
     I really feel for Mitaka.  (I just wish I were as rich. B-)
}
 
2
Kyoko:
  Somehow they don't      nandaka ZENZEN yosoni KIta KI ga shimasen wa ne.
  feel at all like        somehow at all  other  came feel
  they came to                             place
  another place.      <-- [ Sylvain-san: Kyoko means that they do exactly
                               the same as if they were at Ikkoku-kan. ]
     or:
  They're not acting at all
  like they've come someplace else.     ./

     or:
  Somehow I don't feel at all      <-- [ Tarigan: I'm thinking she means
  like I've come to another place.         that things are the same here as
                                           at Ikkoku-kan. Was the original 
     or:                                   Japanese phrase ambiguous? ]
  Somehow we don't feel at all
  like we've come to another place.  <-- [ Kanaya-sensei: Kyoko here is
                                              talking about everybody.   ]

Godai:
  Really.       -=            mattaku.
     or:
  No kidding.   ./
     or:
  You said it.  ._
     or:
  Indeed.       ._
 
3
Akemi pours beer as
Kyoko holds out her glass.
 
Godai:
  ...even though,             ...to wa Ittemo,                             ._

       or:

  ...still...
 
4
Godai:
[ looks to the side at Kyoko ]
 
  She looks sexy in           IROppoi na-- YUKATA SUGATA.....
  her yukata.....             sexy                shape/form
                              |
5                             [ Tarigan: Not only that, but he can
Kyoko smiles as she sits           fantasize that she's not wearing
and holds her glass.               anything underneath her yukata; I
                                   think it's traditional to not wear
6                                  underwear when you're using a
Daydream mode on!                  yukata...
( rounded panel corners )       Ito-san: But I guess she wears at
                                   least underwear. ]
Kyoko:
  Ahh, I drank a bit          aa, WATASHI SUKOshi YOtte shimatta wa.
  too much.

Godai:
  That's awful!               sore wa ikenai.

7
Godai:
[ trying to take advantage of her condition ]

  Why don't we go             SUKOshi SHIZUkana TOKORO ni Ikimashou.
  someplace quieter?          |       quiet     place     let's go
                              |
  ne.                         [ Sylvain-san: Sukoshi here can translate
                                   as "for a while". ]
  NE.
 
 *NE.*
 
The background is filled with "ne"s.

------------------------------------------------------------
p15  PW245
1
Godai has somehow transported Kyoko
into a dark closet.

`suuu', door being slid shut.                                              `,

Kyoko:
[ sitting on the floor ]
  Where are we?               koko wa doko desu no?
 
Godai:
  This is.........            koko wa.........

`patamu', door hitting the                                                 
 wood frame as it shuts.                                                   `,

2
Godai:
  The FUTON CLOSET.           FUTON BEYA desu.
                    ._              room

{ Sylvain-san: "futon heya desu" is also written "in the air", like a magic
     spell. It's like giving the answer in a popular TV show.

     Maybe such a place is popular amongst youngsters for their first love
     affair, but I have no clue about this.

  Ito-san: FUTON BEYA is a more appropriate reading. }

Kyoko:
  Wow,                   maa,
 
  no wonder this         douri de SHIZUkada to OMOimashita wa.
  place is quiet.        |         quiet
               ._        |
3                        [ Sylvain-san:
Godai:                        douri de _____ to omotta = no wonder _____ ]
  Kyoko-san.
                             [ Tarigan: Sheesh, this bears too much
Kyoko:                           of a resemblance to the daydream he
  Godai-san                      had in the chapter when he and Kyoko
                                 spent New Year's Eve together (vol3,1).
                               Melanson-san: cf. some of the daydreams
                                  in Ranma 1/2 -- it always starts with
                                  the two people reaching for a senbei
                                  at the same time.
                               Tarigan: Continuing with this trend, in
                                  v11,3,55/ VW7,14 (when Kyoko goes on
                                  her "lone" trip) Godai daydreams that
                                  she finds his ryokan room. They almost
                                  start "doing it", then he wakes up. ]
4
Daydream mode off!           [ Sylvain-san: Wa ha ha! I love when Godai
                                  wakes up from his daydream. He looks so
Godai ends up making love         stupid. He is intensely in love, which
to his beer bottle.               explains his behavior. But his tragedy
                                  is a comedy for us. ]
Mitaka:
[ to Kyoko ]
  Why don't we go            SUKOshi SHIZUkana TOKORO ni Ikimasen ka?
  someplace quieter          a while  quiet     place    go
  (for a while)?

{ Carragher-san: Takahashi-san can be *so* cruel, sometimes.... }

Kyoko:
  Well...                    haa.

Godai:
[ overhears Mitaka ]
  Eh?!                       [ Sylvain-san: Godai must be very surprised
                                  to hear Mitaka using his own speech
    or:                           (from page 14,7). He immediately suspects
                                  that Mitaka will use the same plan.
  ha_.                         Tarigan: This "ha_" could also be from
                                  surprise at discovering he's fondling
5                                 his beer bottle instead of Kyoko. ]
Godai:
[ moves in to intercept ]
  Kanrinin-san,                 KANRININ-san, KUCHIGURUMA                  ._
  don't be taken in                            cajolery
  by his glib talk.
                                ni NOtcha dame desu yo.
                                   ride   not/never
6
Godai:
  Anyhow, he expects            do--se, FUTON BEYA ni demo                 ._
  to bring you into             anyhow  futon room
  the futon closet.
                                TSUrekomu  tsumori desho-- ga.
                                bring into intention
     or:
  He probably intends to bring
  you into the futon closet.    ./

Mitaka:
  The futon closet?!            FUTON BEYA!

  What a poor imagination       HASSOU ga HINKON da na---, kimi wa.        ._
  you have.                     conception  poverty         you

     or:
  You have no imagination!    

Meanwhile, a bead of sweat appears at the
back of Kyoko's head from exasperation.
 
Ichinose:
  They've started *again*.     ma--ta HAJImatta.
                               again  start
     or:
                            [ On a tray to the side of Ichinose are three
  He started *again*.         rice balls (onigiri). ]

     or:

  Here it goes again.       <-- Sylvain-san: Maybe the "he/they"
                                   problem can be overcome with this.
 
{ Sylvain-san: [Wrote the second rendition. Ed.] What did start again?
     Godai's strange behavior. His speech is senseless if you know nothing
     about his daydream.

  Tarigan: [Wrote the first rendition. Ed.] I think Ichinose means that
     Mitaka and Godai have started arguing (over Kyoko) again. So I
     translated that sentence with "they" rather than "he".

  Ito-san: I agree, but Ichinose may emphasize Godai more than Mitaka. }

7
Yotsuya:
  You guys do the same         yoku ONAji koto   bakari  shiteraremasu ne.
  same things all the          often same thing    all
  time, don't you?                               the time
           -=
     or:                  [ Sylvain-san: This confirms that ICHINOSE was
  He is doing                  effectively talking about Godai in the
  this all the                 previous frame.
  time.    ._               Tarigan: And I still stand by my perception that
                               Yotsuya and Ichinose could also be referring
     or:                       to *both* Mitaka and Godai.
  It's always               Liu-san: I stand with Tarigan's interpretation.
  the same.                    The Chinese translation wisely dropped the
           ,,                  pronoun and leaves the decision to the
     or:                       reader. ]
  It's the same
  thing all the time.  ._

     or:
  They are always doing
  this kind of thing.  ./

Akemi:
  Really, you're not      ho--nto, ONSEN ni KIta KI ga shinaijanai.        ._
  in the mood to come     really   springs  come feel
  to the hot springs.
                         
     or:
  Really, you're not in the
  right mood for the hot springs.  
                                   -=
     or:
  Really. I don't feel at all
  like we've come to the hot spring.
                                      `~
     or:
  Really, we don't feel like
  we've come to the hot springs.      ,,

Godai:
[ wildly gesticulates
  back at them ]  -=
 
  Can you talk                HITO no koto ga Iemasu ka.
  about others?   ._          people          talk

     or:
  How can you dare to say such a thing!  
                                        `~
     or:
  Look who's talking!   <-- [ Tarigan: (A typically liberal translation by me)
                                 I think Godai is saying that the loon
                                 squad isn't in what he would call being in
                                 the mood for the hot springs, and that
                                 they themselves do the same thing all the
                                 time (drink/party). ]

============================================================
p16  PW246
1
`ZURUU_', Akemi raises a TOKKURI.    <-- [ Sylvain-san: Tokkuri. If my
                                              brain is still functioning
`zuruu_', Akemi's yukata slides.              properly, it is a bottle in
                                              which you heat up the sake.
Akemi:                                        You rarely use it for drinking,
[ her yukata is                               like Akemi is doing.
  comfortably parted                       Tarigan: It's actually not
  down the middle to                          clear that she drank straight
  reveal her breasts ]                        from the tokkuri. ]

  Come on, Mitaka-san,           ma-- ma-- MITAKA-san, NOmo-- NOmo--.
  let's drink, let's drink!      |                     drink
                                 |
                                 [ Sylvain-san: The -ou form usually implies
                                      the participation of the speaker. ]
Mitaka:
[ looks nervously at her ]
  Hm... you're bare,             ano... hadakete masu yo, MAE......
  in the front......                    expose            front
                     ._
     or:
  Uh... your front is showing......  -=

{ Johnson-san: I don't think a literal translation would work here ... I
     can't conceive of any way to use 'front' and 'exposed' in this
     situation ... I think you'd need something more subtle like 'aren't
     you cold?' ...  }

`giyo_', Kyoko blushes.         [ Tarigan: Come on guys, this isn't so
                                     much different from when Akemi
`BU_', Godai spurts his              wears her see-through nightie back
 drink in surprise at                at Ikkoku-kan!
 the sight of Akemi.              Williamson-san: Ah yes, but rarely has
                 -=                  she exposed *bare flesh* so brazenly. ]
2
Akemi:
  Are you happy, Godai-kun?        ureshii? GODAI-kun.                     -=
               
Godai:
  Close it up fast!                HAYAku shimainasai_.                    ._
                                          close/wind
3
`WA HA HA HA', 
 Ichinose laughs as...
 
`BARI_', she drunkenly           [ Sylvain-san: Gee, how can you live
 slams backwards into                 with such crude people... Where
 the dividing paper-door.             can I meet them? ]
                      -=
Kyoko:
  Ack! Ichinose-san,          a--_ ICHInoSE-san, fusuma......              -=
  the fusuma......!

4
Kentaro:
  Aaah, you broke it...       a--a, yabui chatte...
                              |
     or:                      [ Sylvain-san: "a--a" is not surprise or
  Yup, you broke it...             angriness. Kentarou sees the facts. ]
                      ,.

`Wa ha ha', Ichinose          [ Carragher-san: Where has Kentarou-kun been
 sits down, laughing.              all this time?  He hasn't been seen
                      -=           since just before dinner started, p13,5. ]

Yotsuya:
  Her weight did it.             MEKATA no SHOURI desu na.                 ._
     or:                         weight    victory
  A victory for her weight.
     or:
  Her weight has triumphed!   ./
                         
Kyoko:
  Guess it can't be helped.      sho--ganai wa ne mou.
  Sigh...                -=

5
Kyoko:
 (This can't be.)                (dame da wa korya.)

 (If I don't stand               (TETSUYA de MIHAttenaito...)
  guard all night long...)        all night  watch/lookout
                         ._       |
6                                 [ Sylvain-san: Her complete
`chi_ chi_ chi_'                       thought might be "If I
<tick-tock, tick-tock...>              don't stand guard all night
                         -=            long... something awful
The clock shows                        might happen. So I'd better
2:26 in the morning.                   watch them." ]
                         -=
7
`WA Ha ha ha', Ichinose continues her dancing.
 While Akemi is still partying, Kentaro is already
 sleeping and Kyoko looks sleepy herself.                                  -=

`uura_',<I don't know what this is for>                                    `,

8
`donchan...'
[ Sylvain-san: From donchan-sawagi = uproarious festivities. ]
 
Sign:                      _____
  Pach [..]                pachi...
                           |
                           [ Sylvain-san: 99% chance that it's pachinko.
                             Carragher-san: 
                                 I'd assign a higher probability.  B-)   ]
9
`su--', Kyoko breathing in her sleep.                                      -=

------------------------------------------------------------
p17  PW247
1
Ichinose:
  What is this?          nanda nanda,
 
  Everybody's so         minna darashi nai ne--.                           -=
  sloppy...              all   messy
              
`guwa~~', Akemi snores.                                                    -=

`subu~~', Godai's breathing.                                               ._
 
2
Ichinose:
[ tucking Akemi                                                            `,
  into her futon ]

  Oh well.               sho--ga nai ne--, mattaku.                        ._
  Sheesh...      

3
Ichinose:
  Kanrinin-san, you'll        KANRININ-san, KAZE hiku yo.                  -=
  catch a cold.                             sick
 
6
`pachi', Ichinose flicks the light-switch.                                 ._
 
7
She's walking in the dark.                                                 ._
 
============================================================
p18  PW248
1
`Yoro_'

`Giyuu', Ichinose bumps into Godai.                                        ^'

{ Carragher-san: More like, "steps on his leg."  Ow!!  Interestingly
     enough, Godai doesn't get the "mom" treatment from Ichinose: she
     doesn't cover him with a futon. }

Godai:
  Oof!                         gu_                                         ^'
      
2
`Zuruu...', Godai lies down.                                               ^'

Godai:
...leave me alooone......       ...tte naa mou......
               ._                  hurt

{ Sylvain-san: A sleepy Godai is complaining. He's not really hurt,
     he's just trying to sleep. It seems this sentence is Tokyo-ben.

     Note: "-ben" means dialect. There are some slight variations in
        the Japanese language depending on the area. It's like, let's
        say, comparing British English and American English. The
        dialectical groups which are most referred to are "kansai-ben"
        (Osaka area) and "kanto-ben" (Tokyo area). But it is not
        uncommon for people to say "Osaka-ben" or "Tokyo-ben". }

3
Akemi is in a futon with her head at Kyoko's feet.  Godai doesn't have a
futon; he's just lying on the tatami to Kyoko's left. Kentaro is in a futon
with his head opposite Kyoko's head. Mitaka is in a futon to the left of
Akemi.  ^'

`Basaa_', Akemi kicks the top of her futon off.                            ^'

`chi chi chi chi
 chi chi chi chi', clock ticking.                                          -=

4
`brrrrr.....',                          bururu_
Akemi is shivering
since she isn't covered.                                                   ^'

5
`ZUru_', Akemi grabs the top of Kyoko's futon (see futon note)....         ^'
                                                                           
[ Melanson-san:
     Futon note: the top part of a futon is called a kakebuton, the bottom
                 part is called a shikibuton.  [Miller, p47 footnote]  ]
6
... and tries to pull it over herself....                                  ^'

7
`DON_',
... kicking Godai in the head.
(this moves him a couple of feet to the right)                             ^'

Liu-san: No.  Look in the previous panel.  Kyoko already moved towards
   Godai when Akemi pulled on the futon.

8
Godai wakes up...                                                          ^'

9
... to see Kyoko's face, upside down, just in front of his nose.           ^'

`GIku_', sound of surprise.

------------------------------------------------------------
p19  PW249
This is the beginning of the B&W pages (the orange coloring ends).         `,

1
Godai:
  (Kyo... Kyoko-san......)
 
2
Kyoko is now completely out of her futon.  Looks like Akemi has taken it
over.  She and Godai are both in fetal position, pointing in opposite
directions, with their faces about an inch apart.                          ^'

Godai:
 (This isn't a dream...     (YUME ja... nai yo na......)
  is it...?)    ._           dream      not
                     
3
`shi-------------n',
sound of silence.                                                          -=

`gubibi_', Godai is swallowing.                                            ._
 
4
Godai:
 (Everybody else is         (mi, minna gussuri NEteru......)
  asleep......)      -=          all   deeply  sleep
     or:
 (Everybody else is
  deeply sleeping.....)  ._
 
`doki doki doki',                                                          
 Godai's heartbeat                                                         ._
 is accelerating.                                                          
 
`kukaka~~~', Akemi shifting about.                                         `,

5
Godai:                                                 _____
 (A- at any rate,           (to, tonikaku kono mama ja rachi ga akan......)
  I can't make it                anyhow   as it is       be settled
  in my position.)
     or:
 (Anyway, I can't make
  any progress with
  things as they are.)  ./

 (One way or another,       (ka, KARADA no MUki wo nanto ka......)
  I must reach her          |     body    direction  one way or another
  body......)    ._         |
     or:                    [ Sylvain-san: rachi ga aku = "come to a
 (How can I                      settlement", "make good progress".
  change the facing           Ito-san: This idiom is used only in a
  of my body?......)             negative form. ]
                 ,,

`doki doki doki doki',
 heart beating.

6
`zuri_',
Godai rotates himself...                                                   ^'

7
`zuri_'
 
8
`zuri_'
... 180 degrees.  Now he's in front of her, facing away from her.          ^'

============================================================
p20  PW250
1
`shi----n', shocked silence.
He realizes this is even worse.  I love the look on his face!              ^'

2
Godai:
 (Sh- shoot.........)    (shi, shimatta.........)
 
 (I rotated the          (KAITEN no HOUKOU wo MACHIGAETA)
  wrong way.)             rotation  direction  was able to miss            ._

[ First attempt: "I was able to rotate in the wrong way." ]
|
{ Sylvain-san: When you think you have made a fool of yourself, you can use
     the potential form. "I was so stupid, I was even capable of rotating
     in the wrong way".

  Ito-san: MACHIGAETA = "missed" (not a potential form)

  Sylvain-san: Matchigatta! I thought it was "machigau + [potential form]",
     but it is really "machigaeru".
          machigau = be wrong
          machigaeru = make a mistake
     Then, it must be read as "I rotated in the wrong way."
     Yes, I'm capable of such mistakes, and even more stupid ones.
}

3
Godai:
 (But,)                  (shikashi,)
 
 (if I move this         (kou UGOitemo.........)
  way.........)              move
     or:
 (Even if I move this way........)   ._

A SD (chan-style) Godai           [ Sylvain-san: He wants to face Kyouko.
rotates around a SD Kyoko              So "even if I move this way... it
so he's facing her back.  ^'           won't do." See next frame. ]

{ Melanson-san:
    Defn: "Chan-style" also called SD (super-deformed) -- a technique used
          in manga and anime wherein the artist squashes the characters
          down so they look like 5-year-olds.  Used for comedy effect,
          characters' interior thoughts, etc. -- see episode 8 where Godai
          is trying to remember what he did when he was drunk and yelled
          "Kyoko -- suki da!" and he imagines the "nude dance" in
          chan-style.

  Tarigan: There was also an example in episode 89 when Godai was
     remembering how Kozue tricked him into a kiss. Can anyone think of any
     other examples of this SD style being used in MI?  }

4
Godai:
 (Like this I will           (ko, koreja itsumade tattemo MUkaiAen......)
  always be on the                this  indefinitely  become  be opposite.
  wrong side......)  ._

     or:
 (Like this I will
  never get in
  front of her.....)
                     ,,

5
He got an idea. Is he bright or what?  ._
 
6
Godai:
 (It, It will be fine           (ko, kou surya iinda.)
  if I do like this.)  ._
 
`Goron', Godai is rolling toward Kyouko.                                   ._
                                 ___
 (I'm acting like a fool.)      (aho mitai.)
                 ._      |
7                        [ Melanson-san: "acting" or "looking" like a fool?
Kyoko:                        I don't understand this very well; "aho
[`goron', but now             mitai" or "baka mitai" seems like a common
  Kyoko rolls over            idiom. Does he mean he looks stupid not to
  so she's facing away        have figured it out sooner?
  from him again. ]  ^'    Sylvain-san: Yes, "Look like a fool" is better.
                              And the meaning is as Melanson-san says.
                                 Godai is criticizing the way he is
                              doing it, not what he is doing.
  U--n.                          Kou sureba = kou surya
                                 Aho is a popular insult in MI.
Godai:                           It means "fool", "ass", "absurd", "dumb".
  A...                     Melanson-san: If I remember right "baka" is
                              Tokyo-ben, "aho" is kansai-ben. Same idea.
Ooops! Kyoko is            Sylvain-san: Kanaya-sensei (my Japanese teacher)
rolling away.                 says that "aho" is effectively kansai-ben,
               ._             but it is widely used in Tokyo. An insult is
                              an insult.  ]
8
Godai:
 (This can't happen......)              (so, sonna SESSHOU na......)
     or:                                           cruel
 (Such a cruel [bad luck]......)  ._

 (I tried so hard.)                     (konna ni DOURYOKU shiteruno ni.)
     or:                                           effort
 (Even after I endeavour myself that much.)       ._
 
9
Godai:
 (Turn back to me              (ko, kochi MUite kudasa--i.)
  pleeease.)        -=              here  turn
     or:
 (Turn back this way,
  pleeease.)        ._
 
10
Kyoko:
  U--n.........

Kyoko rolls onto her back and spreads out her right arm.                   ^'

------------------------------------------------------------
p21  PW251
1
... onto Godai's face.                                                     ^'

Godai:
  .........
  .........

Godai's arms are folded and his legs are crossed,
presumably because he thought it was all over
(because Kyoko had rolled away).  He has a very
surprised expression on his face at the moment,
though.                                                                    `,
 
2
Godai:
 (Yes,                        (so, souda.........)
  yes, that's it........)     
  
 (Make use of the sleeping    (NEZOU wo RIYOU shite, goku shizen ni......)
  posture, the most            sleeping  make        very  naturally
  naturally possible......)    posture   use of

3
He rolls over and reaches out his right hand toward her...                 ^'

Godai:
  U~~~n......

`giku shaku', Godai's hand
creeping over towards Kyoko.                                               `,

4
... when, `Gyu_', Kentaro steps on his wrist.                              ^'
 
5
Kentaro:
  Mooom, pee~~~.         ka--chan, oshikko~~.
                         mother    piss
Godai:
 (That brat......)      (konno gaki~~......)
 
6
In this panel we can see that Yotsuya is to Akemi's "right", between her
and the toilet, and Mrs. Ichinose is to Kentaro's "left" - the Ichinose's
have their heads pointing toward everybody else.  The POV has rotated about
140 degrees since the start of the episode but I'm trying to be consistent
with the left/right I used before.                                         ^'

{ Tarigan: In the background you can see a box-like thing at the
     tokonoma. I asked Sylvain just to be sure that that box wasn't
     anything worth noting.

  Sylvain-san: I showed this box to Noriko and she said this is
     nothing special. A box of tissues maybe. A suitcase or a clock.
     Nothing to worry about she said. }
            
`jya--'                            [ Melanson-san: I was wondering what
                                        happened to the bottom of Kyoko's
`gobo gobo',                            futon. She never had one!  She was
 Kentaro is flushing.                   curled up on the tatami and Mrs.
                                        Ichinose covered her up with a
`go---_',                               futon top, so when Akemi pulled
Mrs. Ichinose is snoring.  ^'           that off she's on the bare tatami. ]
 
Godai:
  .........
 
7
Kentaro walks back...                                                      ^'
 
8
...and, `dosa_', lies down between Godai and Kyoko!                        ^'

Godai:
  .........
 
9
Godai has had enough!  He grabs Kentaro and, `Zubo_', stuffs
him bodily into his futon, head first.                                     ^'

============================================================
p22  PW252
1
Godai, `soro soro', reaches out to Kyoko.
We can see Kentaro's feet on his pillow.                                   ^'

[ Sylvain-san: sorosoro = slowly. ]
 
2
`DOKA_'
Akemi has thrown off her kakebuton again.
She kicks our hapless hero in the stomach.                                 ^'

{ Carragher-san: One could make a case that
     her heel hit a vital spot as well.  B-)   }

`nga_'
 
Godai:
  *OU-*                  I_

                         [ `I' as in `Itee' <hurt>. ]                      -=
3
Godai is trying hard to muffle his agony.                                  ^'

Godai:
  .........
  .........
 
4
Godai has recovered somewhat.  He's still facing Kyoko.                    ^'

5
`soro soro', he tries to snuggle closer for a kiss...                      ^'

{ re: Godai trying to kiss Kyoko while she's asleep.
  Tarigan: Is this a cliche? I seem to recall other anime shows with
     similar actions. Doesn't Madoka try this with Kyousuke in one episode
     of KOR?

  Williamson-san: Godai did it himself in one of the earliest chapters
     (v1,2) -- tried, that is. It's a cliche for Godai, at least,
     throughout MI. I can think of at least one other occasion than those
     mentioned.

     Yes, Madoka did almost kiss Kyousuke while he was asleep in one of the
     KOR episodes. (BTW, is Madoka her family or given name, and if it's
     her given name, why does Kyousuke *always* call her "Ayukawa"? --this
     is not at all relevant to the MI translation, I was just confused
     after watching the AnimEigo-subtitled KOR movie, with their AWFUL
     handling of the name translations.)

  Melanson-san: Ayukawa [trout stream] is her family name, and Madoka is
     her given name.  I guess Kyosuke doesn't feel familiar enough with her
     to call her by her given name - if he were being polite I'd think he'd
     call her "Ayukawa-san",  but he can barely get out "Ayukawa" most of
     the time.

  ( Tarigan: Somehow, references to Kimagure Orange Road (KOR) keep
       creeping into my Maison Ikkoku documents. I'm really should see more
       anime series so I can make references to something other than KOR. )

    Carragher-san:
       As if these weren't enough:  I've often wondered about Ayukawa's
       first name, Madoka.  It's always written in hiragana, so that
       means we can arbitrarily pick the appropriate kanji.  My dictionary
       gives me three possibilities, including the all-kana writing.  The
       second uses just the symbol for yen (also meaning circle and round).
       The third uses the kanjis "true/reality" and "excellent/beautiful/
       good/pleasing/skilled."  I think we know which one is correct.  B-)
       On the other hand, given her character type, her name could be
       interpreted as a question, "mado ka?"  (As we plunge deeper into
       the symbolism, "Is there a window to her soul?")  Okay, I'll give
       up now.  Besides, this probably belongs in a KOR mailing list.  B-)

  Williamson-san:
     re: The "cliche" of attempting to kiss someone while they are asleep...
     Other such occurrences in Maison Ikkoku:
     v1,2: Godai attempts to kiss a sleeping Kyoko on the roof of Ikkoku-kan.
     v2,5: Before getting the nerve to ask her on a date, Godai
           contemplates groping an apparently sleeping Kyoko.
     v7,5: After Godai breaks his leg at Ikkoku-kan, Kyoko (feeling awfully
           sympathetic) visits him in the hospital room... and hugs him
           while he's asleep. "Gomen nasai..." Then he wakes up.

  Tarigan: There are extra examples that happened only in the anime version:
     Episode 3 : After Kyoko is knocked out when she falls down in the
                 attic, Godai attempts to kiss her. When Kyoko wakes up,
                 she responds with a few rights (and lefts) to the kisser.
     Episode 62: When Godai and Kyoko are at a ryokan, Kyoko almost hugs
                 him while he's asleep at the table... but the phone rings.
}
 
6
Mitaka:
[ `GABA_', Mitaka rises up from a sound sleep. ]                           ^'
  Godai-kun, you wretch!       sekoi zo GODAI-kun.
                       ._      cheap/miserable
 
{ Tarigan: In this situation, it seems as though Mitaka is attacking Godai
     for trying to kiss Kyoko right now, but it turns out to be something
     else that isn't explained.

  Liu-san: It's just a dream on Mitaka's part.  No need to explain.  :)

  Sylvain-san: Can you believe it? "sekoi" didn't show up in my big
     dictionary, but it was in Fumiko's little one.
          Mitaka, once again, is hurting Godai's weak point: his poverty.

  Ito-san: Sekoi is a vogue word that occurred about ten years ago. Now it
     has taken a firm hold as a slang, which is rare for such a word.

  Melanson-san: I saw "sekoi" translated as "sneaky" but it may have been
     an error.  There's a character in a Rumic World story called "Sekoi",
     spelled with 3 kanji - he looks just like Yotsuya. [The name of that
     short story is "Dust Spurt", I believe. Ed.]
          "Sekko" is "spy", isn't it?  I thought that might have been the
     etymology...

  Tarigan: Yes, in this case, I think Mitaka's line could be translated as
     "You're being sneaky, Godai-kun!" or "That's sneaky, Godai-kun!"

  Mark-san: It may be an older usage that's changed due to slang evolution.
     I used to have no end of trouble translating _Urusei Yatsura_ when I
     started reading manga, because all I had was an ancient (1942 edition)
     Kenkyusha Wa-Ei Daijiten when I started learning.  All they had under
     "sugoi" was "horrible", rather than its current usage, which is almost
     invariably "cool/awesome/bitchen", etc.  My trusty Anchor dictionary
     has "tightwad" as an example translation of _sekoi yarou_.  This might
     be an option.
}
 
7
Mitaka, `bata', slumps back down, sound asleep.
He's evidently dreaming.                                                   ^'

Godai is horrified, his heart pounding, `doki doki doki'.                  ^'

8
Godai edges toward Mitaka with a malicious look on his face.
He realizes that Mitaka isn't awake after all.                             ^'

Godai:
 (You bastard...)             (kono YAROU~~~,)
 
 (What kind of                (tsumaran NEGOTO wo......)
  sleep talk is that.....?)    boring   talking
                               |        in sleep
                               |
                               [ Sylvain-san: tsumaranai here is used
                                    like "stupid", "nonsense." ]
`zuri_'

9
Godai:
  Bow wow, bow wow.            wan wan wan wan.
 
Mitaka:
  U~~n u~~n.
 
{ Sylvain-san: He he, Mitaka is having nightmares with dogs. I hate him so
     much, he deserves it.

  Tarigan: Hmm, while I'm not particularly fond of Mitaka, I don't exactly
       hate him either.

  Johnson-san: With regards to hating Mitaka. One of the things I really
     like about Maison was how I liked all the characters including Mitaka
     ... after all Mitaka is only doing what Godai doesn't have the guts to
     try. Admittedly Mitaka is a bit of a slime, but then Godai isn't
     perfect either.
          Actually I must say I have a lot of sympathy for Mitaka given
     what happens to him with regards to Asuna. I mean he doesn't even get
     to fall unconscious when she tells him who is pregnant. And given his
     reactions both before and after the wedding, I can't judge him too
     harshly early on in the series.

  Sylvain-san: I do not hate Mitaka as a character. He is interesting,
     funny AND necessary. But it is common knowledge that you tend to
     identify with the main character when you read a book or watch a
     movie. In my enthusiasm, I was happy with Godai as he was taking
     revenge over Mitaka by making him have a silly nightmare. }

------------------------------------------------------------
p23  PW253
1
`zuri...'
 
Godai:
 (Hmm, she's                  (shikkashi yoku NEteru na--.)
  sleeping so soundly.)                  good sleep
     or:
 (Hmm, she's sleeping so well.)    [ Sylvain-san:
                     ._                 The word for soundly is "gussuri".
                                     Tarigan: Yes, but I like the sound of
2                                       "soundly". It means mostly the same
Godai:                                  thing as "well". ]
[ leaning on one elbow
  next to Kyoko. ]     ^'

 (Such a pretty face.........)          (kawaii KAOshite.........)
 
3
Profile of Kyoko's pretty face, in sleep.                                  `,

4
Godai stares at her sleeping face.                                         ^'
 
5
Godai covers her up with the kakebuton.                                    ^'
`zuru_'
 
6
Godai:
 (Please, forgive me.....)    (sumimasen deshita......)
 
[ Note: The full sentence might be:
  (Please, forgive me... (for what I wanted to do to you) ) ]              ._
 
7
Kyoko's arms reach out...                                                  ^'

`ha_..', Godai gasps.
 
8
...and she embraces Godai.                                                 ^'

And maybe kisses him, though Kyoko's face is mostly concealed.             `,
Also, later he doesn't touch where she might've kissed him,
which would be very un-Godai.

Ah, the knight's reward.  Takahashi is *such* a romantic,                  `,
until ....
 
============================================================
p24  PW254
1
Godai:
  Ka... Kanrinin-san......
 
2
Kyoko:
[ smiling in her sleep ]
  Souichiro-san......
 
3
The background shatters behind Godai.                                      ^'

Godai:
  Eh...?                                He...
 
4
Godai has pulled away.  He stares at her, totally nonplussed.              ^'

{ Tarigan: Looks like Godai's daydream from p15/PW245 came true in one way,
     but ended up as a nightmare... }

5
Kyoko slides (rolls?), `go ro ro ro ro ro...', a whole tatami width away,
delivering a nice thump to the sleeping Yotsuya in the process.            ^'

                              { Carragher-san: (Yay!)  Probably she rolls,
                                   since the futon is partially rolled.    }
6
Kyoko is snugly covered up.  Godai is shivering.                           ^'

`hakusho_', Godai sneezes.
<Atchoo!>
 
7
Various signs:
  Manjuu                 manjuu

  ???                    ...TEKI
  ???                    KICHIOKANAN
                         |
                         [ Sylvain-san: But I can't be sure about
                              the reading of this particular name.
                           Kanaya-sensei: KICHIOKA will most likely
                              be read YOSHIOKA. And I'm not sure about
                              the "NAN" reading. ]
                           _______
  Tsurukame snack          sunakku tsurukame

{ Ito-san: "Tsuru" is for "crane" and "kame" is for "turtle/tortoise." It
     is said that tsuru live for 1,000 years and kame for 10,000 years, so
     they are regarded as symbols of good fortune and are often referred to
     together as "tsuru-kame". }
 
[ Note from Tarigan: I put the signboards up here so that Godai's last line
     would be the punchline. ]
 

They come down the path the next morning, all thinking their private       ^'
thoughts.  Godai is encumbered with the luggage.  Akemi is clinging to
Mitaka's arm, beta beta.  Kentaro and Kyoko follow a few paces behind.
Kyoko is happy - she has her hand to her face in a "cute" pose and her
eyes look like this:  ^ ^                                                  

{ Tarigan: We can assume that Godai has lost Janken once again. I imagine
     that they played to see who would have the honor of carrying the bags
     for the return trip. }

Kyoko:
 (Had a good dream.)          (ii YUME MIchatta*)
                              good dream saw
                              |
                              [ Mentally replace the asterisk above with an
                                eighth note, indicating that she's happy. ]
Mitaka:
 (How come I had a            (nande INU no YUME nanka......)              -=
  dream about dogs...?)        why   dog    dream
 
Ichinose (to Godai):
  What's the matter?          do--shitano AKAi ME shite.                   -=
  Your eyes are red.                why    red  eye 

  Didn't sleep well?          NEBUSOKU?
     or:                      lack of sleep
  Lacking sleep?    ._

Godai:
 (I *really* shouldn't   (ONSEN nante, hon_to ni KUrunja nakatta......)
  have gone to the
  hot springs......)
 
{ And the punchline? Godai said the above line three times
  in this chapter, but for three different reasons:
     1) He's annoyed at being overloaded with the baggages.
     2) He almost drowned in the bath.
     3) Kyoko made a devastating remark.

  So in Godai's case, this turned out not to be such a healing bath (as the
  chapter title alluded to).  }

______________________________________________________________________________
//////////////////////////////////////////////////////////////////////////////
------------------------------------------------------------------------------

Wideban Volume 5 Supplemental Information:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
          provided by Sylvain Rheault

     height    = 21.0  cm
     width     = 15.25 cm
     thickness =  2.5  cm
     total     = 352 pages  (p341 is the page with the last illustration)
     weight    = 504 grams  [This is actually the measurement we got for
                             volume 2; Sylvain doesn't have a weighing scale.]

Note that in the wideban volumes the chapter that is translated in
this document is story 11 in book 5.

Along the spine there are no titles, just:
 
     Big Spirits Comics
     Wide Edition (both printed in English caps)
 
     Maison Ikkoku 5 (Maison Ikkoku written vertically the
                      standard way; 5 as an arabic numeral)
 
     Rumiko Takahashi (written in kanji vertically)
 
     Shogakukan (vertically in kanji)
     BCW3805
 
Book Cover:
     Kyoko, wearing a yellow scarf and a red pullover, is carrying a
     bag containing a ball of knitting wool and knitting needles. In
     the background there's a typical Japanese urban landscape. And
     snow is falling.
 
     With the dust jacket off, the cover is blue gray with nothing on
     it. The spine has the same information as the dust jacket but in
     black on the same blue gray.
 
     The inner pages (ocher on yellow) reproduce the top panel from
     page 180. It shows snow gently falling over the roof of
     Ikkoku-kan.
 
     Inner title page has a full color drawing of Kyoko carrying a
     paper bag on which "MAISON" is written in roman upper-case
     letters.
     
     The artwork section shows, at right, Kyoko in Godai's arms.
     Godai, his left foot in plaster, dropped one his crutches. At
     left, there's a very sexy Kyoko posing in an almost translucent
     shirt.
     
     This story takes up pages 233 - 254.
     
     Unlike in the normal volumes (which have orange coloring for a
     few pages), there is no special coloring used anywhere in the
     wide-bans.
     
     The back cover has a small drawing of Souichiro-san scratching
     his head with his back leg in front of his doghouse.
     
     Note: all the books have a different drawing of Souichiro-san and
           the doghouse on the back cover.

------------------------------------------------------------------------------

Bits of Translation for the Wideban:
          provided by Sylvain Rheault

[ Tarigan: As to be expected, Takahashi-sensei has filled
     out the table of contents with lots of puns. ]
 
Page 4
                                                  _____
Special Wide Edition                      TOKUSEI waidoBAN
                                          specially   wide edition
                                           made

Maison Ikkoku                             mezon IKKOKU

Volume 5                                  DAI 5 SHUU
 
                                          [ SHUU here means "collection",
                                            but I preferred "volume" ]

Table of Contents                         MOKUJI

(part,page,title)                                          __  __
  1   5     Farewell on Platform 18       WAKARE no 18 BAN ho--mu
                                          farewell         platform
 
            [ Godai's Granny is going back home after a short stay at
              Ikkoku-kan and the whole bunch is escorting her to the
              shinkansen station. ]
 
  2   23    Mr. Ichinose Has Lost         ICHInoSE-SHI no SHITSUGYOU
            His Job                                       unemployment

            [ Liu-san: The title is not as conversational in tone as the
                 translation.  "The Unemployment of Mr. Ichinose" is
                 closer.

              The first appearance of Ms. Ichinose's mysterious husband. ]
 
  3   45    Run, Mr. & MS. Ichinose!      ICHInoSE-SHI, HASHIru
                                                        run

            [ Does "Ichinose-shi" refers to Mr. or Ms. Ichinose? As they
              are racing together in this story (in a three-legged race), I
              choose to write down both names.

              Liu-san: I would translate it as "Ichinoses--go!"  ]

  4   69    Even If I Keep On             Ochite iku no mo
            Falling...                    fall
                                          [ -te+iku = continuation of
                                            something from now on. ]

            [ Godai breaks his leg after a memorable quibbling with Kyoko. ]
 
  5   91    Declination of the Banquet    ENKAISHAZETSU
                                          banquet  refusal
                    or
            No Partying Allowed

            [ Kanaya-sensei: The pun here is that ENKAI-SHAZETSU
                 (= Declination of the banquet) uses the same grammatical
                 structure as and evokes MENKAI-SHAZETSU (No visitors
                 allowed).
              Tarigan:  ^_^

              Sylvain-san: Strange title.
              Liu-san: Not really.  It's normal Chinese grammar.  The
                 translation of the title is too formal IMO.  Something
                 closer to "Party [Invitation] Refused" would be better.

                   The first few days Godai-kun spend at the hospital. As  ._
              expected, the whole bunch is coming for the party, but Kyoko
              is late to show up.
                   Interpretation of the title: Those Ikkoku-kan party
              animals have turned Godai's room into a party house. Kyoko,
              still upset by what happened to Godai, does not show up
              immediately, thus she is refusing the invitation to the
              party. ]
                                                   _______
  6   115   Run Away Cracker              KAkeOchi kurakka--
                                          elopement  cracker

            [ Cracker does not refer to the cookie but to a kind of small
              firework that projects confetti & ribbons.
                   If you look at the first page of the story, you might
              expect Godai to run away with his lovely cousin who appeared
              at the end of the previous chapter. ]
 
  7   138   Skeleton of Love              AI no KOKKAKU
                                          love   frame, skeletal structure

            [ Kanaya-sensei: The pun here is that AI no KOKKAKU (= Skeleton
                 of love) evokes AI no KOKUHAKU (= Declaration of love).

              Liu-san: "Skeleton" invokes the wrong image in English.
                 "Frame of Love" is too vague, as "frame" can refer to
                 things other than bones.  Suggestions?

              Kyoko and Godai are good friends again, and the wounded      ._
              student tries to consolidate his relationship with his
              favorite kanrinin-san. The title, thus, refers to this
              basis of love and, at the same time, is a medical term
              which evokes Godai's condition. ]
 
  8   166   Two Characters in the Snow    YUKI ni NI MOJI
                                          snow    2   character, letter

            [ Kanaya-sensei: The title here evokes a very famous haiku
                 which can be read like this, if I remember well:

                    "Hatsuyuki-ya! ninoji ninoji-no getano ato"

                ==> [It's the] first snow! [We can see on the snow] the
                    prints of the geta (Japanese wooden shoe) in the shape
                    of the character "ni" (two).

                 Thus, "Yuki ni ninoji", after a Rumikian transformation,
                 has become "Yuki ni ni moji".

              Sylvain-san: After reading such an explanation, you can
                 really measure the amount of study one has to do in order
                 to make good translations. Gambarimasu!

              The two characters in this episode are, what else, "BA" and
              "KA" [ ="idiot"]. Given the "romantic" tone of the title, we
              should have expected something else.
                   Kyoko pays a visit to both Godai and Mitaka at the
              hospital, and tries to figure out which one will be the best
              husband for her. But she finds out that both are
              inconsistent. ]                   
                                                __________  ____
  9   189   Rehabilitation of Love        AI no rihabirite--shon love
                                                rehabilitation

            [ Godai is back home, and Mitaka is still interfering.
                    As in part 7, rehabilitation refers both to Godai's
              physical condition and to his relationship with Kyoko. ]
 
  10  209   Go For It                     ganbatte kudasai ne
               or                         good luck, go!
            Do Your Best, Okay?

            [ Godai must catch up in his studies and prepare for a big
              exam. Kyoko, who still feels the guilt of Godai's broken leg,
              tries everything possible to help him. ]
 
[ The titles below have already been described in the table of contents for
  the normal volume. ]

  11  233   Healing Bathers               TOUJISHAtachi
                                          __  ___
  12  255   Handling It With a Suit       su--tsu de otsukai

  13  279   The Face in the Dark          YAMI no NAKA no KAO

  14  299   Spring Grave                  HARU no HAKA

  15  319   Let's Live Together           ISSHOU ni SUmou ne

______________________________________________________________________________
//////////////////////////////////////////////////////////////////////////////
------------------------------------------------------------------------------

Additional Notes:
~~~~~~~~~~~~~~~~

===============
==  Janken   ==
===============
  Hey, everybody knows this hand game (or some variant). So we got a lot of
  participants in this discussion below:

  Liu-san: How about translating the term?  If I'm guessing the Kanji used
     correctly, it literally means "guess fist"--the same as in Chinese.

  Tarigan: In the two chapters that `Janken' is used in the MI manga,
     Godai loses in both. (In v6,9/ VW4,14 Godai and Mitaka played Janken
     to decide who will be the stepping stool to get out of the well.)

     "Janken" is the name of the Japanese hand game that is basically the
     same as the game we know as `Scissors, Paper, Stone'. Where we in the
     west might flip a coin, the Japanese play Janken. Usually, just two
     players at a time play--both of them say `jan... ken... pon!', and
     push through one hand, in the form of either GUU <stone> (a closed
     fist), CHOKI <scissors> (index and middle finger extended), or PAA
     <paper> (open palm).

     The winner is decided by these rules:
           stone > scissors :  The stone breaks the scissors.
        scissors > paper    :  The scissors cuts the paper.
           paper > stone    :  The paper covers the stone.

     If both players choose the same hand shape, you repeat the game until
     a decision is reached.

  Ito-san: There are some districts where "choki" is thumb and index finger
     extended. But this is not standard.

     One may be able to win unfairly if he holds out his hand not at a time
     but right after he's seen the opponent's hand (what is called
     ato-dashi). But if it turns out that he's done so, he'll be blamed.

     Janken is used even in some official situations, such as in All Japan
     Senior High School Baseball Championship (aka Koushien Taikai) to
     decide which team will go to bat first. Being good at Janken or not
     can be a serious problem to Japanese people :-)

     A draw game is called "aiko". If the first match ends up in aiko, the
     following matches begin with saying "aiko de sho" instead of "jan ken
     pon". (In fact it rather sounds like "ai kode sho".)

  Sylvain-san: In Japan, I often played with 3 players or more. You "throw
     your hand" until one of the players is different from the others.
     He/she wins or loses depending on the stakes.

  Ito-san: If there are many players, there is the possibility that "aiko"
     is always repeated and that they can't decide the winner(s). In such
     cases we may sometimes use another vulgar method called "guu to paa
     (stone and paper)". In this method we say "guu to paa de wakaremasho
     (let's split in two with guu and paa)" and can choose either guu or
     paa. And the minority will win (where there's no such rule that paa >
     guu). After there are not so many winners left, we decide the ultimate
     winner(s) with ordinary janken.

  Tarigan: What does "jankenpon" translate to?

  Sylvain-san: It is the same as Janken, except the "Pon" here is used as a
     signal to "throw your hand". It is like "One... two... THREE!" =
     "Jan... ken... PON!"

  Johnson-san: I hate to add any more to this but I have always known it as
     "Rock, Scissors, Paper." I don't know if this is a US thing, a
     Michigan thing, or a Detroit thing.

  Tarigan: Ha ha, thanks. I could never remember the proper name and order.

  Daniel-san:
     In Hong Kong, you can play `Wrap, Scissors, Hammer'.
     In Taiwan, it's `Scissors, stone, cloth'.
     Even in only those two Chinese countries, the order is different.
          [ Tarigan: Even the objects are slightly different. Or is that
                     due to your translation? ]

  Liu-san: "Cloth" may have been chosen because "paper" doesn't flow well
     with the other two words in Mandarin.

  Pierre-san:
     If I remember well, in France one plays "Paper, Scissors, Rock".

  Jorge-san:
     In Spanish, the order is "Rock, Paper, Scissors".
                             ("piedra, papel o tijeras")

  Tarigan:
     There's another version that I learned from an Indonesian (Kopon
     Tarigan). The name is "Suten". It differs from the others in the way
     that the hand is used:
         thumb extended        = elephant
         index finger extended = man
         pinkie extended       = ant

     Instead of saying `jan, ken, pon', Indonesians say `satu, dua, tiga',
     which translates to `one, two, three'.

         elephant > man      :  The elephant crushes the man.
              man > ant      :  The man steps on the ant.
              ant > elephant :  The ant eats the brain of the elephant.

  Ito-san: I didn't know something like janken is spread that widely. I
     wonder where is the origin.

  Ivo-san:
     I read about another version. If I remember correctly:
          thumb  = elephant
          index  = man
          middle = totempole
          ring   = boreworm
          pinkie = ant

         elephant > man          :  The elephant crushes the man
            "     > totempole           and the totempole.
              man > boreworm     :  The man steps on the boreworm
               "  > ant                 and the ant.
        totempole > man          :  The totempole casts a spell on the man
            "     > ant                 and resists the ant.
         boreworm > totempole    :  The boreworm eats the totempole
             "    > elephant            and the brain of the elephant.
              ant > boreworm     :  The ant beats the boreworm
               "  > elephant            and eats the brain of the elephant.

     It's a bit more complicated!

  Edmund-san:
     Does anybody play the simpler hand game in which you have only two
     symbols instead of three, and a designated player wins if both players
     show the same symbol? Thus you always reach a decision after precisely
     one try. But this lacks the symmetry of the three-symbol game, so
     maybe that is why nobody uses this.

  Tarigan:
     Oh yeah? I know an even simpler game that uses only one hand shape.
     It's called Boxing.  :)


===============
==  Manjuu   ==
===============
     Here's a story in which manjuu plays an integral part.

     "Why the Sea is Salty"
     ----------------------
     Once in Japan, there were two brothers. The older one was rich but
     mean, and the younger brother was poor but kind-hearted. One winter
     was worse than usual and the crops hadn't fared well. The poor brother
     was going to starve so he went to his brother's house and tried asking
     for rice. He was spitefully refused.

     While wandering aimlessly down a road, the younger brother almost
     bumped into an ancient, white-haired man. This man asked what was
     troubling the younger brother and, hearing about the young man's
     plight, he told of a temple in the middle of a forest:

         "Behind the temple is a hole in the ground where kobito
          [literally, little people] live. Find those kobito and see if you
          can get them to give you a stone that moves." Then he gave the
          young man a barley manjuu (a steamed dumpling).

     The young man thanked the old man and went to the temple in the middle
     of the forest. He found the hole and went inside. There, he found a
     large number of kobito making a great deal of noise. When he looked
     closely, he could see that they were trying to climb up a reed stalk
     but were falling off and trying again, over and over. He thought this
     very strange and said, "Here, I'll help you," and picking them up, he
     soon had put them where they were trying to go.

     The kobito were very happy and said in awe, "Oh, what a huge man you
     are; you are really strong!" Then they noticed his manjuu. "Oh, oh,
     what a nice looking thing that is you're carrying; how unusual it
     looks! Please let us have it, will you?" They struck a deal to
     exchange any one object in their hole for the manjuu. They led him
     deeper inside, and before the man, stacked in a pile, were rolls of
     fine silk, a splendid suit of armor, a samurai sword, a sack full of
     jewels, a chest overflowing with gold...

     The farmer couldn't believe his good luck and thought hard trying to
     decide which treasure to get for his manjuu. Then he remembered what
     that old man had said. He looked around, and noticed something off in
     a shadowy recess. "That's it, a stone that moves," he cried as he
     pointed to a millstone. The kobito were shocked at this strange
     decision and pleaded with him to change his mind. The farmer was
     confused, but decided to stick with his choice. The kobito, having
     given their promise, resigned themselves to giving the millstone to
     the farmer.

     Feeling a bit foolish at coming away with a millstone rather than one
     of the fabulous treasures in the hole, he started walking back home.
     The old man appeared again. He revealed that this millstone was a
     magic one. "If you turn the handle to the right, out will come any
     object you ask for. To stop it, remember that you have to turn the
     handle to the left."

     At home, the farmer tried it out and asked for rice. Fresh white rice
     poured from the millstone. He asked for a horse, and a horse sprang
     forth. Gold, barley manjuu, a new house... all would be granted. It
     wasn't long before he became the wealthiest man in the land.

     This aroused the suspicion of the formerly richer brother. One day
     when the younger brother was holding a feast, the older brother peeked
     into the kitchen and saw his brother turn the millstone's handle to
     the right and conjure up the evening's food. He left quickly and
     plotted to get the millstone for himself. That night he went in to
     steal the millstone, and while he was at it he stuffed his shirt with
     manjuu.

     He stole a ship and set out to sea. "Ha ha ha! Now I'll be the richest
     man in the world." He began gobbling the manjuu he'd stolen. It was
     sweet... too sweet; so he needed some salt. He turned the handle to
     the right and asked for salt. Salt poured out. But soon it began to
     overflow and fill the boat. He didn't know how to turn it off. "Stop!
     I said stop!" But the millstone continued to churn out salt. The boat
     sank along with the man, down to the bottom of the sea.

     To this day, they say the millstone sits on the ocean floor churning out
     salt. And that's why the sea is salty.

                    This retelling of the fable was based on the following
                    books (in decreasing order of usefulness):
                      [FOLK63]   [ONCE87]   [YANA86]

   Vickie-san (to Tarigan): I know you like weird trivia, so here's
      scholarly junk for you courtesy an ex-folklorist. Your "manjuu"
      folktale is a variant of a tale type found in the Aarne-Thompson
      index, specifically AT 565 The Magic Mill (motifs: D1472.1.9 Magic
      pot supplies food and drink, D1601.21.1 Self-grinding salt-mill,
      D1651 Magic object obeys master alone, D1651.3 Magic cooking-pot
      obeys only master, A1115.2 Why the sea is salty--magic salt mill).
      International variants listed from Europe, Asia, the Pacific Islands,
      Africa, and North America.

   Tarigan: I had, in fact, run across that stuff (that Aarne-Thompson
      index) in one of the books I had read, but it seemed too complicated
      to me.

   Vickie-san: Mm-m, no, it's not complicated, really. The AT number
      identifies a basic plot structure type; for example, AT 510
      Cinderella and/or Cap o' Rushes (as well as 510A and 510B) is a
      "Cinderella" story. Scholarly folktale collections (and the better
      class of popular collections) assign AT numbers to any stories they
      contain that are variants of "types" described in the index. The
      "motifs" are the common elements that may be found in stories of that
      type; the motif numbers refer to the full compilation, Stith
      Thompson's _Motif Index_ (multiple volumes).

      But Aarne-Thompson index hasn't been updated since the 1960s. It's a
      relic of a "school" of folklore studies that isn't pursued any
      longer, the so-called Finnish School. Mostly the AT index is useful
      today because it provides a common reference point for comparative
      studies. So, for example, you can simply go through back-of-the-book
      indexes of scholarly collections and look at the AT numbers if you're
      wanting to know if the book contains a specific variant. A major time
      saver, this is. You'll see literary studies use the index numbers as
      well. (Oooh, went into lecture mode. sorry!)

   Tarigan: Heh heh, I will find this stuff useful the next time I go
      researching folktales.

   Note: The following paragraphs are pure speculation and
         may turn out to be false, though I doubt it.

        That there are similar millstone stories in other countries, means
        that there are probably several such salt-creaters scattered
        throughout the oceans and seas of the world. This makes sense
        because there is no way that a single millstone could create enough
        salt to make our seas as salty as they are today.

        The millstone is an advanced energy-to-matter converter. I
        conjecture that it channels energy from some sort of source out in
        space, maybe siphoning off a nearby star or some latent background
        energy.

        But there is also the possibility that, like many wondrous devices,
        there is a dark side: perhaps the millstone steals energy from the
        soul of the operator, in effect, slowly killing the user. Who
        knows? Maybe the kobito were normal sized people at one time, but
        the millstone altered them through usage.

        In the case that the user dies while the millstone is actively
        creating (as happened when the rich brother of the story sank to
        the bottom of the sea), the millstone might switch to draining
        energy from any living thing that happens to be within range. If
        so, perhaps the Dead Sea, known as the saltiest sea in the world,
        is the result of such a millstone. As you may know, there is no
        life (other than bacteria) in the Dead Sea. And fish that
        mistakenly enter that sea (from feeder rivers) die very quickly. A
        millstone in such a landlocked sea as this would have eventually
        drained all life and it would have stopped creating salt, except
        for those times that something alive entered the waters. I pity
        those poor tourists...

        Hmm, this could function as an interesting murder device. One might
        hide a millstone in a house and then set it up so that it drains
        energy from the soul of the person who lives there... But I really
        must stop digressing like this.

        In operation the millstone listens to voice input and then scans
        the user's mind to figure out how to create what was asked for.
        From that data, it constructs an object atom by atom. Essentially,
        it turns thoughts into reality. The downside is that the creation
        is only as good as the mind of the user -- if the user doesn't know
        what an object is, then the millstone can't create it. That was why
        the kobito in the story couldn't simply ask the millstone to make
        manjuu without first getting a sample from the man. Once they had
        eaten it and discovered the manjuu's physical properties, their
        minds would have held the information required to make duplicates
        via the millstone. They were clever by offering all that treasure
        to the man -- they could have created more of it with the millstone
        any time they wanted -- but the advice from that white-haired man
        ruined everything. I wonder why he set things up for a change in
        the millstone's ownership? Of course, there's little evidence that
        these fables have to make sense...

______________________________________________________________________________
//////////////////////////////////////////////////////////////////////////////
------------------------------------------------------------------------------

Bibliography:
[COMP93] = `The Complete Japanese Expression Guide' by Mizue Sasaki
            Copyright 1993 by Charles E. Tuttle Publishing Co., Inc.
            First edition. Printed in Japan. 334p

[FOLK63] = `Folktales of Japan' translated by Robert J. Adams
            Copyright 1963 by The University of Chicago. Printed in USA.
            221p

[Miller] = `A Japanese Reader' by Roy Andrew Miller
            Copyright 1962 by Charles E. Tuttle Publishing Co., Inc.
            First edition.  Printed in Japan. 250 p.

[ONCE87] = `Once Upon a Time in Japan' compiled by Sayumi Kawauchi
            Translated by Ralph F. McCarthy. Published by Kodansha
            Publishers Ltd. Tokyo. Copyright 1987. 128p

[YANA86] = `The Yanagita Kunio Guide to the Japanese Folk Tale'
               by Yanagita Kunio. Translated by Fanny Hagin Mayer.
            Copyright 1986. Printed in USA. 365p

Sylvain's references:
_Japanese-English Character Dictionary_ by Andrew N. Nelson,
     Tuttle Language Library, 1992, [8800 yen].
 
_New Japanese-English Dictionary_ Kenkyusha, 1992 [10 000 yen].

------------------------------------------------------------------------------

Identification Keys:
  These are placed to show who did which line
  (in those cases where no name is shown).

     Robert Carragher :  `,

     KANAGAWA Fumiko  :  ,.

     Andy Johnson     :  =;

     Harold Melanson  :  ^'

     Sylvain Rheault  :  ._
          
     ITO Takayuki     :  `~

     Kanaya Takehiro  :  ,,

     Glenn Tarigan    :  -=

     Andy West        :  "'

     Jeff Williamson  :  ./

------------------------------------------------------------------------------

[ 93.12.28 15:15 - 15:39 built up frame of the translation ] = 76 lines
[ 94.01.02 00:06-2:38 started translating/annotating in earnest ] = 542 lines
[ 94.01.04 19:00-19:20 inserted the total p6 transl. by Sylvain ] = 702 lines
[ 94.01.05 16:50-17:05 inserted the total p7-9 transl. by Sylvain ] = 890 lines
[          17:28-18:12 did my own partial translating of p11-13] = 1111 lines
[ 94.01.06 10:20-10:27 inserted the total p10 transl. by Sylvain ] = 1182 lines
[ 94.01.06 13:00-14:00 did my own partial translating of p14-16] = 1462 lines
[          15:47-16:34,I translated p17 through to the end (p24) ] = 1788 lines
[ 94.01.07 04:00-5:00 synopsized manjuu story ] = 1886 lines
[ 94.01.08 10:50-11:40 inserted total p11-12 transl. by Sylvain] = 1980 lines
[          17:35-17:44 inserted total p13 transl. by Sylvain] = 2043 lines
[          21:55-22:25 inserted total p14-24 transl. by Sylvain] = 2292 lines
[ 94.01.09 19:50-20:07 added various changes sent in by Sylvain] = 2358 lines
[ 94.01.10 6:30 Note: I spend much time editing and proofing this text, but
           I don't usually note it in the revision notes here. ] = 2411 lines
[         21:45-22:24 add stuff from both Johnson and Williamson ] = 2567 lines
[ 94.01.11 9:09-9:30 added stuff from Ito-san ] = 2763 lines
[         22:00-22:05 added more stuff from Sylvain ] = 2915 lines
[ 94.01.12 16:33-17:53 added more notes from Sylvain; edited ] = 2931 lines
[ 94.01.13 19:48-20:46 add stuff from Melanson; edited ] = 3014 lines
[ 94.01.14 17:30-18:24 add from Mark,Sylvain,& Melanson(p18-21) ] = 3218 lines
[ 94.01.17 22:19-22:28 add from Mark & Sylvain ] = 3254 lines
[ 94.01.21 20:21-20:56 add from Melanson & Sylvain ] = 3502 lines
[ 94.01.24 21:48-22:22 komencis Esperantan tradukon ] = 3559 linioj
[ 94.01.25 01:41-02:26 kompletigis malneton (tuto:79min) ] = 3676 linioj
[ 94.01.26 16:57-17:18 add Sylvain's French version (~25 KB = ~1272 lines) ]
                                                 total = 4887 lines
[ 94.01.28 19:08 add Vickie's stuff ] =179,652 bytes =23,537 words =4988 lines
[ 94.01.30 18:44 - 19:20 add corrections from Andy West
 reformatted Eo version to 25-column format (greatly increasing the line count)
       21:10 - 21:50 add descriptions for cover page thru to p5 ] = 5460 lines
[ 94.02.04 23:40 - 00:20 cut&paste the English into "Simple Dialogue" section ]
[ 94.02.06 21:45 - 22:40 reformatted English Simple Dialogue ]
[ 94.02.08 05:15 - 05:54 added Liu-san's notes (dated Feb.5) ] = 5682 lines
[ 94.02.12 08:15 - 09:03 added Carragher-san's notes ] = 5865 lines
[ 94.02.13 17:30 - 18:15 added from Ito-san ] = 5902 lines
[ 94.02.17 10:58 - 14:00 add from Johnson & a bit from Carragher ] = 5948 lines
[ 94.02.19 19:50 added corrected French total from Kanaya-sensei ] = 5959 lines
[ 94.02.24 20:10 - 20:49 added Kanaya's notes (rec'd Feb.16) ] = 6004 lines
         ( 20:50 - 21:19 ran a spell checker over parts b and c )
[ 94.03.12 20:30  Added new French version with corrections from Ken Elescor
                  (rec'd 94.03.11) ]
[ 94.03.15 14:54  Finished doing final checking. ] = 6124 lines
[ 94.03.17 16:22  Finished running spell-checker through doc ] = 6130 lines