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This paper aims to describe the similarities and differences between possibility expressions in Japanese and Chinese, particularly from the viewpoint of tense and semantics. Possibility expressions are classified into potential, actual, and realis possibilities based on the relation to tense. Chinese differs from Japanese in that a realis possibility in past tense cannot be expressed using possibility expressions. Instead, Chinese utilizes a resultative complement. Possibility expressions are divided into ability and probability from a semantic aspect. In contrast to Chinese, Japanese possibility expressions do not denote probability. The three Chinese grammatical markers for possibility expressions have different ranges of use: neng has the widest coverage, whereas hui is restricted. However, the two Japanese grammatical markers for possibility expressions have almost the same scope of use.

pdf, Otogi Bouko( published in 1666) is a Gothic novel collection which Ryoui Asai adapted according to "'Jian Deng Xin Hua"(by You Qu) and "Jian Deng Yu Hua"of China and "Kumo Xina"( by Sisup Kim) of the Korean Peninsula. In the paper "The aceptance of "＇Jian Deng Xin Hua＇ 'in East Asia - the succession and transfiguration of intellectual's consciousness", Miss Longmei Zhang stated that from "Shui Gong Qing Hui Lu"( 1 of the volume 1 in ''Jian Deng Xin Hua), we can see the author You Qu's criticism to intellectual 's policy of the early Ming dynasty in China. Moreover, Miss Zhang stated that from "a topping-out of the Dragon's Palace "(1of the volume 1 in "Otogi Bouko"), we can see a satire to the declination of Kidendo and it succeeded the subject of "Shui Gong Qing Hui Lu" in its entirety than the direct original text "Yongu Gungu Buyon Noku" (the fifth in "Kumo Xina "). Although we can read that intellectual 's consciousness from "＇Jian Deng Xin Hua", there have no environment to cultivate the intellectual 's consciousness like China in the early Edo period of Japan, so I can not imagine that Ryoui has resonance in You Qu. However we can not say that there is no "criticism "in "Otogi Bouko". Indication of Miss Longmei Zhang shows the necessity and importance which we examine the difference of "criticism "between China , Japan, and the Korean Peninsula. As already pointed out in the previous studies, the "criticism"in "Otogi Bouko"has a point common to "Ukiyo Monogatari"and "lnu Hariko ",and it is pierced through the whole life of Ryoi. However, the question still remains about that the "criticism"in "Otogi Bouko"can be read as criticism like China, or can be read as mere lesson. It is common for a intellectual to do political criticism through a text, and this can be said the intellectual 's consciousness in China, but how Sisup Kim of the Korean Peninsula and Ryoi Asai of Japan have accepted the intellectual 's consciousness when they adapting '']ian Deng Xin Hua". Compared with China and the Korean Peninsula, what is the originality of "criticism "in "Otogi Bouko",and how read the literary nature of author Ryoi through the originality? This relates not only to reading of the work itself, but also to positioning of "Otogi Bouko"in the history of Japanese and East Asia literature. Based on these questions, this paper tries to consider the "criticism"in "Otogi Bouko"through reproduction of the original text.

金沢大学理工研究域電子情報学系