Chinese character etymology

CHINESE CHARACTERS

THEIR ORIGIN, ETYMOLOGY, HISTORY, CLASSIFICATION AND SIGNIFICATION. A THOROUGH STUDY FROM CHINESE

DOCUMENTS

by Dr. L. WIEGER, S.J.

Translated Into English by L. Davrout, S.J.

Second Edition, enlarged and revised according to the 4th French edition

PARAGON BOOK REPRINT CORP., NEW YORK DOVER PUBLICATIONS, INC., NEW YORK

This edition, first published in 1965, is an un- abridged and unaltered republication of the second edition, published by the Catholic Mission Press in 1927. The first edition of Chinese Characters was published in 1915.

This edition is a joint publication of Paragon Book Reprint Corp. and Dover Publications, Inc.

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PREFACE.

The end aimed at by the Author has been to analyse the ancient forms of the Chinese characters, to extract from them their primitive constituents, and then to group them together according to these primitive elements, in an order both logical and synoptical.

The materials, figures and interpretations, were gathered from the works of the Chinese epigraphers and philologues. After having eliminated the useless characters, the Author picked out, among the usual characters, 224 Primitives. Around these elements were grouped about 1500 logical aggregates and phonetic complexes, from which all the other characters are derived. Then the whole matter was divided into 177 Lessons. After many ex- periences, this disposition seemed to be the most advantageous for study.

The Introduction is designed to furnish some necessary explanation respecting the history, the categories, the analysis and the different classificalions of the Chinese characters.

The Graphies are fac-similes of the oldest specimens of Chinese writing cast, not engraved, upon bronze bells and vases. The Phonetic Series, are a natural complement of the Lessons. Two Lexicons showing the characters arranged by order of Sounds and Radicals, complete the work.

The Romanisation adopted by the Translator, was according to the Wade system.

L. Davrout S.J.

CHINESE CHARACTERS.

INTRODUCTORY.

I. HISTORICAL SKETCH.

Tradition ascribes the idea of the. characters to Fu-hsi, and their first drawing to Ts'ang-hsieh, two worthies of the prehistoric age. The symatisation of the Chinese writing, is attributed to

ste- Huang-ti, the founder

of the Chinese empire, 25th century B.C. Some texts of the Annals, may have been written earlier than the 22th century B.C. — In the beginning, writing was used only for matters of government and administration. By its means, the Em- peror was given information, and his orders were transmitted to the mandarins and to the people. The shih, recorders, registrars, scribes, were trained up inofficial schools, under the direction of a

t'ai-shih grand-recorder.

The oldest ku-wen graphies that have come down to us in their original form, are traced back to the 18th century B.C. Their study reveals the fact, that while their making was well defined, their form varied much. Towards the year B.C. 800, the grand-recorder Chou drew up, for the use of the official scribes, a catalogue of the then existing characters, and fixed their standard shape. Those ku-wen are called by Chinese philologists chon-wen, or ta-chuan greater seal characters, or k'o-toa-tzu tadpoles. The origin ofter appellation is thus recorded, lo the 2d century B.C., when the house in which

the lat-

6 Introductory — Historical sketch.

Confucius bad dwell was pulled down, old books written in ancient characters were discovered in a hiding-place. At the sight of the big heads and the slender tails, Hung prince of Lu who was not a learned man, exclaimed: these are tadpoles!.. The name has stuck to them ever since.

As the decay of the Chou Dynasty grew worse, studies were neglected and the scribes became more and more ignorant. When they did not remember the genuine character, they blunderingly invented a false one. Those non-genuine characters, copied out again by other ignorant writers, became usual. Confucius himself made this statement. Towards the year B. C. 500, he uttered this complaint: «When I was young, I still knew some scribes who lef t blank the characters which they could not write; now there are no more such men!» Consequently the ch'i tzu «odd characters» were multiplied without restraint, to the great prejudice of etymology.

Towards the year B. C. 213, under the Emperor Ch'in-shih-huang who destroyed the classical books, Li-ssu, his prime-minister, publishnew official index of the characters, and fixed a way of writing which became obligatory for scholars. His collection, entitled

ed a

San-ts'ang, contained 3300 characters. This new form of writing was known as the hsiao-chlesser seal characters. — The study of the work of Li-ssu discloses two facts:.. l. He did not create any new primitive, but he contented himself with composing, by means of preexisting elements, the names for objects which were unknown before. Therefore the evolution of characters was certainly closed before the times of Li-sau, probably many centuries before him... 2. Deceived by the

uan,

ch'i-tzu, then so numerous, Li-ssu wrongly interpreted some characters, and

fixed them for posterity under a wrong shape. Many instances of these mistakes of Li-ssu wilt be seen in the Etymological Lessons.

A few years after the catalogue of Li-ssu was edited, a new era was opened in the study of characters. Two facts are peculiar to this change: an excessive multiplication; a gradual transformation. Let us briefly state the causes of these philological phenomena:

Introductory. — Historical sketch. 7

\. Causes of the excessive multiplication of characters... First, the ignorance of scribes who continually brougt to light faulty forms which were stupidly reproduced by posterity ; then, the need felt to give names to new things. 1 he Empire was growing, learning was spreading; writing had become a public thing; the process hsing-sheng (see page 10) being an easy one, all took to it. From this disorderly fermentation, without direction, without control, without criticism, sprang up, together with useful characters, thousands of useless doubles. Things could not well be otherwise, when one remembers that the centres of fabrication were multiplied, and that the local idioms were very different. The index of Li-ssu contained 3300 characters. In the space of two centuries, it was completed seven times, and the 7th edition, published at the beginning of the Christian era, contains 7380 characters. Two centuries later, there were 10.000. Now the dictionary of K'ang-hsi(A.D. 1716), contains 40,000 characters that may be plainly divided as follows: 4000 characters in common use; 2000 proper names and doubles of limited use; 34.000 monstrosities of no practical use. We are far from the legendary number of 80.000 usual characters, ascribed to the Chinese language. 5. Causes of the gradual transformation of characters. — The first to be noticed, is the complete change in the instruments and material used for writing. The ancient wrote with a sort of fountain-pen, upon small laths of bamboo or smooth

wooden tablets. Hereby the figure ofold, as it has been transmitted to us odynasty. Above, the reservoir holdinbly a black varnish. The narrow bamprobably a wick, to regulate the flowan instrument traces lines any waybackwards or forwards, straight or but all equally thick. Therefore in the,

the fountain-pen of n a bronze of the 2d

g the fluid, presuma- boo tube contained ing of the ink. Such

it is moved, either curved, as one likes,

chuan, greater , there are figures of lines being all uni- talogue of Li-ssu was

edited

or lesser seal characters of all agesevery shape, round, ova), sinuous, theformly thick. — Not long after the ca

, d

t

with

Ch'eng-miao inventea pencil of soft wood,

ending in a fibrous point, which being dipped in the black varnish, was used for writing on silk strips. Traced with this coarse instrumenon a rough material, the rounded figures became square, the curved lines were broken at right angles. But this ungraceful writing being quicker than the fountain-pen, the wooden pencil was adopted for public deeds, and the Li-tzu or official hand, became the

current writing, while the lesser seal characters

remi

another. During his campaigns against the HANS, the general

ained the classical writing. As it commonly happens, the way being opened, invent ons succeeded one

Meng-t'ien is

8 Introductory. — Historical sketch.

said to have invented or improved the writing-brush, the ink and the paper. This invention was fatal to the characters. — A writing- brush cannot trace lines against the hair, therefore many characters could not be written and were replaced by arbitrary and fanciful sketches. — The mater ia ls used further helped to increase the confusion. Paper is absorbent: hence came the thick strokes, the thin strokes and the slabbery letters, which were all unknown to the ancients. — A writing- brush, made with stiff and elastic hair, flattens ou t when pressed down, twists when turned, projects its point when raised up ; hence the swellings, the joints, the crooks, which are not intentional, but are due to the instrument itself. — Therefo- re the actual classical writing chieh-tzu, represents the hsiao-chas transformed by the writing-brush.

uan

There is more. The wri t ing-brush galloping, the strokes were connected up, g iving birlh to the lien-pei-tzu; then it flew, throwing on the paper mis- shapen figures, which are called ts'ao-tzu. The fancy for these noveltiescame a rage. At the beginning of the Christian era, a man believed himself disho- noured if he wrote in a legible way. In this crisis, the initiative of a private scholar saved what could still be saved.

be-

Towards the year A.D. 200, after long travels undertaken to get the authentic originals, a literate of renown Hsu-shen or Hsu shvulgo

u-chung, Hsu-shih, published the lexicon Shuo-wen

It was the collection of Li-ssu, controlled, amended, explained and classified under 540 rational keys. The aim of Hsu-shen was to impede any ulterior alteration of the characters, by setting their authentical form before the eyes of a l l scholars. His book contains 9353 simples and 1163 doubles, which makes 10.516 in all. It was not less useful to the nat ion, the admirers say, than the canals of the great

chieh-tzu.

Yu It remained, from that time, the canon of the tzu, the authority consulted in al l doubts, by Chinese philologists. All the dictionaries published for the last 17 centuries, boast of their having followed the Shuo-wen,

Bat the work of Hsu-shen had a more far reaching effect than the mere conservation of the hsiao-chuan. It was the origin of archeological researches which brought to light more of the ant ique ku-wen, and of philological studies which explained them. These successive discoveries were published, according to the Chinese way, in enlarged and annotated editions of the primitive Shuo-wen. See — Later on, under each key of Hsu-shen, were ranged a chronological series of ancient forms, copied either f r o m stones or bronzes that were discovered, or from books tha t were extracted from tombs or other hiding places, throughout the Empire. See . — Published in fine books, care- fu l ly analysed, learnedly explained, these Series give the genealogy of the actual characters. Their study enabled the critics to rectify the errors and mistakes of Li- ssu and of Hsu-shen. It gave the material for the Etymological Lessons contained in this volume.

Introductory. — Historical sketch. 9

For instance, Series of the character chun, prince, through 45 centuries.

1. The primitive form, ku-wen. A cap with horns, to inspire awe. Two arms, the executive power. A mouth, the legislative power.

2. A mere graphic variety. The elements are the same, but their form is different.

3. Another variety. The same elements, a different form; It is so with all the ku-wen: the idea is determined, the form varies.

Then came a fanciful scribe who gave to the cap a curious form; whence the k'i-tzu 4, the elements being still the same.

The next writer, an ignoramus, thought he saw two hands, instead of the horns on the cap, and he invented the ch'i-tzu 5. The hands figure the power, the mouth makes law; the idea is still the same, but the graphic elements are partially different.

An idle writer, for the sake of abbreviation, replaced one of the hands by a simple stroke, which gave the ch'i-tzu 6.

This last character, being in use at the end of the Chou Dynasty, Li-ssu interpreted if. a hand which acts, a mouth which makes law. Thus was fixed the hsiao-chuan 7.

The wood-pencil made with this hsiao- chuan, the li-tzu 8 and 9.

The writing-brush changed the li-tzu into the chieh-tzu. 10, which is still classic in our days.

The latter being connected together, became the lien-pei-tzu 11, the successi veabbreviations of which gave the ts'ao-tzu 12, 13, 14.

U is all about the same for the other Series,

10 Introductory, — Six Categories.

II. LIU-SHU.

Six Categories of Characters.

The Chinese philologists divide the characters into two great classes: the wen, simple figures, and the tzu, compound letters.

The figures are subdivided into hsiang or nsiang-hsing, imitative drafts; and chih-shih, indicative symbols.

The compound letters are subdivided into hui-i, logical aggregates, in which all parts have a meaning; and in hsing-sheng or hssheng, phonetic complexes, in which one part has a meaning, while the other points out the pronunciation. _______

ieh-

Let us summarise the matter, with a few details and instances. First category. Imitative drafts, rough sketches representing the object;

The Shuo-wen contains 364 imitative drafts. Example: the right hand.

Second category. Indicative symbols. A figure that suggests the meaning; The Shuo-wen contains 125 indicative sym

ple: bols. Exam-

action of the authority which exerts itself from up down. Those symbols often suggest an idea of motion.

Third category. Logical aggregates. They are made with two or several characters more simple. Their signification results from the meanings of the different elements; The Shuo-wen contains 1167 logical aggregates. Example: , composed of mouth and divination; the outcome is chan, to consult fortune-tellers, to cast lots.

Fourth category. Phonetic complexes. They are made with two or more simple characters. One of them gives the meaning; the other is not a «meaning element», but gives to the complex its pronunciation;

The Shuo-wen contains 7697 phonetic complexes. Example: The first part , water, gives the meaning; the second , chan, gives the sound. The compound means, to tinge, to moisten, and is pronounced chan.

To complete the study of the lin-shu, there are two more categories to be studied, the chuan-chu and the chia-chieh. The above fcategories are based upon the composition of characters. The last two are based upon their use.

our

Fifth category. Chuan-chu. Acceptation of the character in a meaning more extended, derived, generalised, metaphorical, analogous, adapted, figurative, etc.

Introductory. — Six Categories. H

Example: picture of a fishing-net. By extension of the primitive sense, anynet-work, cobweb, reticulate design; lo catch with a net, to calch iu general, to envelop, to gather, etc. All these meanings are chuan-chu. i. e. begot by successive turns in the interpretation. Nearly all the primitive characters refer to concrete objects. As the ideas became broader, the signification of characters spread in the same proportion. The abstract terms are commonly chuan-chu of concrete characters.

Sixth category. Chia-chieh. A mistake, lit. false borrowing. Use of a character in a sense which is not its own, either 1. By error, for an other existing character; or 2. By convention, to designate an object which has its name in the spoken language, but which has no special character. Examples:

1. In the first paragraph of the Analects of Confucius, one may lind the character meaning lo rejoice. Now means to speak, and to rejoice is written Once a scribe wrote for . It was a mistake, a chia-chieh, which was not amended, on account of the superstitious respect for the classical text.

2. Formerly, in some time, in some place, the elder brother was called ko. This word was used in the spoken language only. None among the then existing characters ko. had that meaning. Instead of m ak ing a new one, it was agreed tha t

ko, to sing, should be used also to mean, elder brother. Though thismeaning he unconnected with the composition of the character, however it was admitted. This was a chia-chieh, an arbitrary character. — Not a few usual characters were thus given artificial meanings, besides their own meaning and their different meanings chuan-chu. Other characters, either names of lost things, or useless doubles, first disappeared and then appeared again with a meaning quite new and in absolute contrast with their composition. Thus the foreign student is quite puzzled when he sees the figure of a scorpion meaning also a myriad, and he wonders how a n y relation may be found between the two terms? The answer is very easy. There was not a proper character lo mean a myriad, which was said wan in the spoken language. On the contrary, there were many characters to write scorpion and one among them was just pronounced wan. It was dispossessed, installed in its new functions, and from that time, myriad is written with two claws and a tail. See, in the Lessons, the numbers 47 X, 49 H, 50 O, 71 Q, etc.

Those chia-chieh are the very reason why the interpretation of the Chinese characters, which was primitively simple and easy, became so intricate and so difficult. They obscure many texts, fill up the lexicons, overburden the memory, and exasperate the students. These sad results spring not from a vice inherent lo the Chinese characters, but from their antiquity and from the carelessness of their successive keepers.

Notice. In the Lessons, for the sake of brevity, we shall not say in English, about each character; this is «an imitative draft,» that is «an indicative symbol,» or at logical aggregate,» or a «phonetic complex.» More commonly we shall

12 Introductory — Composition and Decomposition.

content ourselves wilh the Chinese definition given in Chinese characters. The ordinary formulas for these definitions are thus given:

or hsiang or hsiang-hsing. Lit. imitative draft of the right hand. , chih-shih. Lit. shows the thing, indicative symbol, to act, action. , , , , Lit. from hand, draft; from

to act, symbol; by the fusion of meanings, to govern. This is a logical aggregate.

, , , , Lit, from hand, from rofusion of meanings, to strike. A logical aggregate.

d; by a

, , , Lit. from , to enclose; gives theclosed on the four sides, shut up hermetically. It is a phonetic complex.

sound;

As for the derived or arbitrary meanings, we shall be satisfied wi th indicating them by the words chuan-chu or chia-chieh, inserted in the text. The most important chuan-chu have been indicated, b u t not all the chia-chieh. The latter are to be looked for in the larger dictionaries, which are absolutely necessary on their account.

III. COMPOSITION AND DECOMPOSITION.

Primitives. Radicals. Phonetics.

From the calligraphic stand-point, the Chinese characters are all reduced into simple strokes. These material elements amount, for the modern writing, to nine in theory, and to about seventeen in practice. Their form is ascribed to the nature of the writing brush, as explained previously. The strokes are:

Introductory — Composition and Decomposition. 13

Note well and do not forget that this reduction into simple strokes, into material elements, has DO connection whatever with the etymological study of the characters.

From the logical, etymological point of view, the compounds are made, not with strokes, but with characters more simple, having their own use and meaning. These simple characters are what we call «elements», when we speak of composi- tions and decompositions. The more iutricate character was formed by their association, and the analysis must end when it has separated and isolated these formal elements. To go further, to decompose into strokes, would add nothing to knowledge. Just as, in systematic botany, the study of a plant is ended when one has determined its specific organs. The ulterior decomposition of these formal elements into cells and fibres, belongs to histology, and is of no interest for classification purposes. Examples:

, a logical aggregate, is decomposed into , a phonetic complex, is decomposed into and

If one says that and which are given as elements, are evidently themsel-ves compounds, we answer: no doubt, if it is a question of material analysis, one should decompose

into , and into and . But here, this isnot the question. What we look for, is the logical etymological analysis. Now, in the logical aggregate

, the element gives the meaning; it is therefore a formal element. In the phonetic complex , gives the sound; it is therefore a formal element. The etymological decomposition ends there.

It may be asked how numerous are those relatively simple characters or formal elements, which are used to compose the more intricate characters? — Before answering, one must distinguish two categories, indicated previously: the meaning elements and the phonetic elements.

\. Meaning elements. — Theoretically, any simple character could be used for the composition of a logical aggregate. The ancient writers used those they wanted. — Practically, how many of those elements did they use? Relatively very few. Indeed, the research of those elements had to be made among the ancient regular forms, and not among the modern corrupted forms. Different Chinese authors numbered from about five to six hundred elements, but their choice was imperfect because there were compound forms, either multiples or inverted, which were kept without reason. The first European who studied the question, J.-M. Gallery, suggested the number of 300. J. Chalmers who resumed this study, gave also 300 as a rough estimate Our own researches deliberately circumscribed in the practical, domain led us to give 224 meaning elements, the list of which may be found at the head of the Lessons.

14 Introductory. — Composition and Decomposition.

As said above, we call primitives the elements of the logical composition called by the Chinese chien-shon, fundamental heads. The def ini t ion of this term is to be noted well. Primitive, forrnal meaning element that cannot admit of an ulterior decomposition into meaning parts; or, more shortly, ideographic minimum. In other words, the primitives are characters relatively simple, having sound and meaning, and which are not formally resolved into figures having sound and meaning. Materially, they may be reduced into strokes, but this is without any use for the analysis. Just as a simple chemical body, or a bar of sulphur, or an iron ingot, can be smashed with a hammer, and ye t this is not a decomposition, but a breaking up. — In a few characters, strokes or dots were added to extend or to modify the meaning. We call those characters partial primitives. They are primitives, relatively to the graphical details superadded. See, as examples, the nipples in , Lesson 67 0; the thorns in , Lesson 120 H; the grains of salt in

, Lesson 41 D; etc. 2. Phonetic elements. — Theoretically, the Chinese sounds not being numerous,

four hundred characters would have been sufficient to compose a phonetic scale. — Practically, the Chinese used as phonetic elements, a greater number of characters; the reason of this will be given below. Some Chinese authors numbered one thousand of them, which they called the thousand mothers of sounds. J.-M. Callery who made a special study of these characters and round in them a key to his system, numbers 1040. Our researches, circumscribed in the practical domain, gave 858 phonetic prolific elements. This list may he seen at the head of the Phonetic Series. In the choice of these phonetic elements, the Chinese cared only about the sound and not about the character. They employed, from which has one stroke only, till which has twenty-four.

The inflected words of European languages are decomposed into radical and

termination. The radical gives the meaning; the termination indicates case, time, mood. The (irst sinologists applied those grammatical terms belonging to inflected languages, to the Chinese language which is not an inflected one. In the phonetic complexes, they called radical the meaning part. They dared not call termination the phonetic part, and wi th reason, for it would have been a mistake. They called that part phonetic. We make ours those two terms, radical and phonetic, but strictly in the sense above given, viz. Radical, formal element which gives the meaning. Phonetic, the formal element which does not give the meaning, but indicates the sound.

Why do we insist thus upon the delinition of these terms?.. The reason is this: in sinologv, they were often used in an equivocal sense. — Some divided the characters into categories, stating that such a one is a radical, and such a one a phonetic, while any character may be, in composition, either a radical, or a phonetic, according to the part it has to act. — Others reduced the extension of the term radical to the keys of the dictionaries, and gave as radicals only the 214 keys of K'ang-hsi;

16 Introductory. — Important Notices.

put in circulation with that sound, went to the North and to the South. Now the Chinese philologists say that the North is known as corrupting the finals in the words, while the South alters the initials. Thus when passing over in the Northern dialects, had its final an transformed into en; was ended into yen and into yeh: which are dialectic differences of a common origin. In a Southern dialect, the ch of became t in , and n in : which are also differences of a commonorigin. At the same time, the tones and aspirates, special to different places, stuck to the former as well as to the latter. Then at last when, in the making of a big dictionary,

Ssu-ma kuang for instance, gathered under the mother word its roving brood, it was diversified with odd colours; there were characters pronounced chan, chen, tien, nien and t'ieh. The compiler neither made a choice, nor criticised, nor tried to restore the primitive pronunciation, nor returned to a unique dialect, but simply set down what was then used, and posterity was told by him, once for all , t ha t was pronounced chan, that was pronouncedt'ieh, and that

was their common phonetic. — Upon the whole, with regard to

the phonetic series, note the three following points: 1. The sound was well determined in the beginning... 2. There were dialectical corruptions... 3. The sound was finally, and without any critical study, fixed by insertion in the dictionaries.

But then when one says that the phonetics determine the sound of compounds, is this determination practically reduced to something rather vague? — It is much to be regretted tha t it is of ten so. The determination is somewhat vague for the final (vowel), still more vague for the initial (consonant), and nearly non-existing for the tone and aspiration.

But then is the study of phonetics useless? — It is an exaggeration to say so. The study of phonetics and of the phonetic series is useful. For, after all, the sounds, initials and finals of each series varied only to a certain extent and according to certain dialectic rules. Therefore the knowledge of phonetics allows, after a certain use, to guess approximatively the sound of compound characters. It helps also to fix those characters in the memory. Further, the study of characters, made by following the phonetic series, is more attractive and more useful than by following the series by radicals or by sounds. It is the reason why we add to this volume a lexicon by phonetic series.

IMPORTANT NOTICES.

1. Use of a compound instead of a simple, as a radical. The same need of variety, of distinction, that mult ipl ied the phonetics (as above stated), impelled the use sometimes, as a radical, of a compound, instead of a simple character. Item, an inverted character was used instead of the straight form, etc. For example for , or or for , for , fM.

or for •

Introductory — Composition and Decomposition. 15

they called phonetic any character which was not radical. — Hence arose ways of speaking, improper, equivocal and false. For example: because is the 75th key of K,ang-hsi, some say : the radical is phonetic in , instead of saying: iphonetic in

s , and radical in . Because is the 190th key of Callery, some

say: the phonetic is radical in , instead of saying: is radical in , andphonetic in

. — To avoid such a confused and inexact way of speaking, one

must remember that radicals and phonetics are not two categories of characters specifically distinct. They are two categories of a certain number of characters which, being neuter or indifferent by nature, are used in composition, either as radicals, or as phonetics, according to the cases. Even the primitives are, in composition, radicals or phonetics, according to the cases. They form a class by themselves only as elements formally indivisible; elements which, being not composed, compose all the others.

Why did they use one thousand characters, when four hundred could do? — It was to avoid confusion. In certain categories, there were to be placed objects of different kinds, but having the same sound. The radical proper to the category could not be changed and consequently the phonetics had necessarily to be changed, in order to get different characters. Example: In the category of trees, the radical of which is , the phonetic had given the phonetic complex k'u,dead tree. Now there is a k ind of elm which is also pronounced k'u. For this elm, the character

k'n was made, in which is used as phonetic; and so onfor many others. — As above stated, the new characters are selected, for more than twenty centuries, exclusively among the phonetic complexes. Out of the ten thousand characters that constitute the main part of the big dictionaries, about seven thousands of them are phonetic complexes. Some variety in their composi - tion was of absolute necessity, to form a way of distinguishing one

. from another.

In which sense must we understand the assertion that the phonetics give their sounds to the phonetic complexes? — To answer the question, one must presuppose the following facts which are so evident that they need no proof. The Chinese language is spoken for tens of centuries past, in an immense territory. Its sounds are not numerous, and may be easily confounded. Hence arose a great number of dialectic differences. A Chinese proverb says that at a distance of one hundred li, people cannot understand each other. This assertion is exaggerated, but it is right to say that, at a distance of one hundred U, there are perceptible dialectic differences; that, at a distance of one thousand li, only a half of the things said are understood: and that, at a distance of two thousand li, nothing is understood. Further, the dialect of the same district varied in the course of ages. — That fact being granted, let us take as example . In the place and time when was first chosen to be used as a phonetic, this character was pronounced chan. Its compounds, made after the same phonetic, were all pronounced chan, and being

Introductory. — Important Notices. 17

2. phonetic-Radicals. — In some anc ien t characters, an element which is radical gives also its sound to the compound, being thus together radical and phonetic. For ex. Lit. ping ice, from shui water,from

ping to freeze; ping is thus both radical and phonetic,Those chara-

cters are like a l i nk between the logical aggregates and the phonetic complexes. 3. Radical or phonetic redundancies. — \. The ancient characters were

re la t ive ly simple. When t h e systematic classifications begun to be made, then w i tho u t change in the meaning of those characters, a meaning clement was super-added to m a n y of them. This was a new radical, well chosen, but useless, under which the character was classified in the new dictionaries. Thus, to chiao, to teach, which nicely figured the action of the master descending upon the disciple, a ha nd was added, ho ld ing a rod, symbol of the master's authority. This addition was the cause why was classified under the 66th radical in K'ang-hsi. Thus the old characters happened to have, near ly a ll , synonym compounds, and it is the compound tha t is used now, w hi l e the p r imi t i ve character remains in the dictionaries with the mention

ku-wen, ancient form. This is why one may often read in the Lessons the words « it is now written. » For ex., , now ; the ancient form was enriched with the radical , the rest being quite the same. — 2. The ancient drafts, or symbols, or logical aggregates, had no phonetic element , and no th ing helped the memory to remember the sound. Later on, specia l ly in the t ime of Li-ssu, a phonetic element was added to some ancient characters, w i thou t changing anything in the sense. For ex., to the character kui, was added tui, to recall the sound ui, which gave Those embellished logical aggregates differ from the phonetic complexes in this, tha t they cannot be a- dequate ly decomposed in to two elements, one being a radical, the o ther a phonetic... Another example: cb'u was added with the phonetic hu, which gave ch'u... Now and are no longer used. They are found in the dictionaries, with the ment ion

- ku-wen, ancient forms of and

i. Phonetics and Radicals contracted. — See the phonetic Series 469, , etc. It seems to come from hsin, h u t it ends in ao. Its phonetic is not

hsin, but

nao, a logical aggregate made from hsin. But nao having already a lateral radical , the addition of the radical of phonetic complexes would make ugly characters. To avoid this, is contracted, that is: its is suppressed, and in its place the radical of the. complex is substituted. It the series 469, nao contracted is the phonetic, . — The same happens in the series 119, under ch'u, where one may f ind compounds in ieh. Their phonetic is chieh contracted, in which gave place to another radical. — Remember well this remark, it is very important in practice. One may often read, in the Lessons, the expression "contracted phonetic" — In the logical combinations some radicals are abbreviated in the same way. Thus becomes or . See and , L. 44 E,J. — The scribes definitively contracted several intricate ancient forms, for example:

18 Introductory. — Classification ol Characters.

5. Phonetics mixed. — Under some numbers of the phonetic Lexicon, one

may find two series written in the same way, but of different sound. The reason is that in the modern writing, two ancient phonetics were mixed. Thus one writes to-day in the same way two series utterly distinct in the ancient writing. See, for example, the Series 227, 284, 359-549.

6. Synonyms. — The great number of phonetic complexes, different in form and in sound, but perfectly synonymous, is explained by the fact that they sprung from many different places, in the modern times, after Li-ssu. Some double logical aggregates probably owe their origin to the same cause, v.g. LL. 2 B and 32 B. There were differences between the rival states and the jealous literati of those times.

7. Multiples. — An element reproduced two or several times, figures graphically the great number, or the great intensity. For example: Two trees make a forest. Two fires means to blaze. Three men , a multitude. Three chariots , a rolling, a big rumbling. .

8. Figures straightened. — Certain figures, broader than high, as , are often straightened in the compounds, to take less place. See L. 82 C, L66,

. L. 167, L 158, etc.

Conclusion. — The knowledge of the Chinese characters consists in mastering less than 300 primitives, and about 1500 principal compounds made with the primitives, that is less than 2000 characters. A l l the others are derived from them. Those are the elements and groups that are treated in the Etymological Lessons, and collected in the Index of usual Groups, When the student knows them, he may explain to himself all the compounds. The Lessons explain the logical aggregates under their principal primitive. Each paragraph refers to the phonetical series which contains the phonetic complexes derived from the same element. The paragraph and the series form a whole, t h a t exhausts practically the study of an element.

IV. CLASSIFICATION OF CHARACTERS. A. Chinese classifications.

1. Natural classification. — The first classifications were encyclopedias of things, after the manner of the present lei-shu. The prototype of those compilations is the Erh-ya, the first sketch of which is ascribed to Chu-kung (11 t h century B.C.). Remodelled in the 5th century B.C. by a disciple of Confucius, Tzu-hsia, it took its actual shape from Kuo-p'u, circa

Introductory — Classification of Characters. 19

A.D. 280. The things of this world were distributed under 16 sections: kindred, houses, utensils, music, heaven, earth, mounds, hills, waters, plants, trees, insects, fishes, birds, wild and domestic animals. IN the actual lei-shu, the hea- dings are more numerous.

2. Logical classification, by Radicals. — Starting from the meaning element of the phonetic complexes, or from one among the meaning elements in the logical aggregates, the characters were disposed by logical series, under keys called Radicals, according to the number of strokes. The shuo-wen was the first lexicon, thus disposed. It contains 540 keys, some of them being very abundant, and some very poor, according to the notion expressed by them. Later on, for the sake of simplification, the latter keys were suppressed. This reduction brought about the placing of the characters that had belonged to the keys left out, under other keys, with which the former had some analogy of figures, but no real relation. The classification thus became half logical, half arbitrary. Under the Ming, thenumber of keys was reduced to 214; which meant that the characters belonging to more than 300 ancient keys, were arbitrarily placed where they should not be. The dictionary of K'ang-hsi

, is based upon these 214 keys. This dictionary is easy enough to consult and precise in its definitions. But one must avoid to use it for any study of etymology or of classification, under pain of committing the worst blunders. We shall indicate, in the Lessons, a certain number of these mistakes, for which the compilers are not personally answerable, because the system of keys used by them was composed before their time. — Recently the Commercial Press of Shang-hai has good

printed a very abbreviated K'ang-hsi.

3. Phonetic classification, by Rhymes. — Towards the year A, D. 500, Shen-yao introduced the system fan-ch'ieh, which consists in associating, for the expression of a sound of any unknown character, two other known characters, the first of which gives the initial consonant, and the second the final vowel. Examples: p'an and nieh make p'ieh; li and mo make to; etc. — The fan-ch'ieh was devised by Indian Buddhist Monks, in order to render approxima- tely, in Chinese, the Pali or Sanskrit syllables. — It was according to this system, that dictionaries called yun-fu were made. In the beginning, they wnearly dictionaries by sounds, the finals being very numerous: under the

ere T'ang,

there were 206 finals for 36 initials. Later on, the number of finals was reduced, by gathering in the same category all those that rhymed according to the Chinese prosody; so that now en, in, un, un, are mingled; an, nan, ien, form a same category, etc.— The yun-fu have all five volumens, one for etone. To find a character, one must know first its tone, then its prosodical category; lastly one must seek in the latter, following the order of initials. The largest Chinese dictionary, the

ach

P'ei-wen-yun-fu, was composed after this type. We join here the usual table of rhymes.

20 Introductory. — Classification of Characters.

Table of Rhymes.

Ung. laug. Ih. Ei. O. D. I. Ai, uai, yeh. Ei, uei.

En, in, un, un.

An, uan, yen.

Ao, iao.

E. o. A. ai, ya, ua. Ang, iang, uang.

Eng ing, iung.

Iu, ou. En, in, un

U, u, in, etc.

Ih, ei, i, e, etc.

E, o, ai. A, ia. E, ieh, ueh. Iao, ieh, o, uo, ao.

Ai, ei, e, i, ieh, ih, o, uo, u.

I, ih. A, ia, o, uo.

Ieh, yeh.

Introductory. — Classification of Characters. 21

4. Phonetic classification, by sounds. — Basing himself upon thesystem fan-ch'ieh, a certain Fan t'eng-feng invented, towards the year 1700, a combination of 20 initials and 12 finals, that is nearly as easy as the European alphabetical order though it does not attain it, for sounds l ike i, ih, u ei, are stil l confounded. Instead of being capital, the. division by (ones is accessory. This classification is far more convenient than the dictionaries by rhymes. Therefore the Wu-fang-yuan-yin was a great success. It was the. most common dictionary in the days ot the Cu'ing dynasty. Us key is thus given:

Initials Finals

P P' M F T T,

N L Ch Ch

ien, an, nan.

Sh J ChCh'Hs Y KK' HW

en, in, unn, un. ung, ing, cng, iung. an, iang, uang. iu, ou. ao, iao. u. uo, iao, o. e, ieh, ueh. u, ia, ua. ai, uai. i, ei, ui, ih, erh, u, iu.

5. The Tzu-hsiao-chu- yiii tha t wil l be occasionally meutioned in the Lessons, is a small hook that gives the form of the modern characters, as it was required for the official examinations, till A.D. 1905, with an index of the wrong characters. H contains some mistakes.

6. European classifications.

1. By radicals. The dictionary by radicals of K'ang-hsi was translated, abridged or enlarged, a figuration replacing the original fan-ch'ieh. For ex., the "Dictionnaire classique de La langue chinoise,du P.S. Couvreur S J. , Ho-chien-fu, 1904». These dictionaries partake of the advantages and drawbacks of the K'ang-hsi's dictionary.

2. By phonetics. The characters "were gathered according to the phonetic series. The type of the k ind is the " Sg s te na phoneticum scripturae sinicae, auctore J.-M. Gallery, C, Miss., Macao, 1841.»

22 Introductory. — Classification of Characters.

3. By sounds. Being given a system of figuration, the characters were classified according to the European alphabetical order. The big English dictionaries of Williams and Giles, and the big «Dictionnaire chinois-francais du P.S. Couvrcur S.J., llo-chien-fu, 1890», are made after this method.

Use of the dictionaries. — To find a character the sound and meaning of which are unknown, one must refer to a dictionary by radicals, which supposes the knowledge of the 214 keys of K'ang-hsi. — If the sound is known, with the help of a Chinese master, or otherwise, then the shorter method is to use a dictionary by sounds, supposing that one is well acquainted with its figuration. — The phonetic series are the most useful for study, but they are not very useful as a dictionary, unless one is already far advanced in the study of Chinese.

ETYMOLOGICAL LESSONS

LIST OF THE 224 PRIMITIVES.

Modern form. The ancient form may be found at the number given.

1

Chi4. 11. Chn3. 4. Chuan3. 18. Chueh4. 6. I1. 1. I4. 8. II. 9. Kun3. 6.

P'ieh1. 7. Ya2. 9. Yin3. 10.

2

Chi1. 20. Ch'i1. 33. Ch'iao3. 58. Chiu3. 23.

Chiu1. 54. Chiung3. 34. Ch'u1. 38. Ch'uei2. 13. Fang1. 51. Han3. 55. Han4. 59. I4. 39. Jen2. 26.

Ju2. 15. K'an3. 38. Kung1. 38. Li*. 53. Mi*. 34. Nai3. 19. Pa1. 18. Pi3. 26. Ping1. 17.

Po3. 56. Shin* 24. Shu2. 22. Sau1. 89. Tao1. 52. Ting1

57. Wu3. 39. Yu4. 43.

24 List of the Primitives.

Kung1. 87. Liang3. 35. Mien2. 35. Nu3. 67. Shan1. 62. Shan1. 80. Shao2. 54. Ssu4. 85. Sui1. 31. Ta4. 60. T'o1. 33. T'u3. 81. Ts'ai2. 96. Tzu3. 94. Wei2. 74. Teh3. 107.

4

Ch'i4. 98. Ch'iang2. 127.

Chieh4. 97. Ch'ien4. 99. Chih3. 112. Chin4. 128. Ching3. 115. Ch'uan3. 134. Chung1. 109. Fang1. 117. Feng1. 97. Hu4. 68. Hu4. 129. Huo3. 126. Hsin1. 107. Jih4. 143. Ku3. 106. Mao2. 100.

Mu4. 119. Niu2. 132. P a 1 . 55. P'ien4. 127. Pu2. 133.

Shih4. 114. Shou3. 48. Shui3. 125. Tan1. 115. Tou3. 98. Wen2. 61. Wu4.

101. Wu3. 130. Ta2. 147. Yu4.

83 Yu2. 95. Yueh4. 64. Yun2.

93.

5

Ch'ai2. 156. Chia3. 152. Ch'ieh3

20. Ch'ing1

55. Chu4. 57. Fu4. 87.

Ho2. 121. Hui2. 76. Jan3. 116. Jou3. 23. Kua1. 162. Kuan3. .108. Kuan4. 153. K'ui4.

1 1 1 . Mao2. 95. Min2.

1 1 4 . Min3. 157. Mu4

158. Ping3. 4 1 . Shih3. 1 3 1 . Ssu4.

42. Tai3. 1 1 8 . T'ien2. 149. T'o1. 108. Tseng4

154. Wa3. 145. Tu2. 151.

3

Ch'e4. 78. Chi*. 68. Chi1. 70. Chi3. 84. Chi2. 14. Chih3. 31. Ch'ih4. 63. Chin1. 35. Chiu3. 31. Chung1. 17. Fan2. 21. Hsi4. 64. Hsun3. 1 1 . I*. 71. I3. 85. Kan1. 102. Ko4. 77. K'ou3. 72. Kung1. 82.

Llit of the Primitives. 25

Shu2. 124. T'ien4. 41. Tzu4. 159. Yang2. 103. Yen3. 117.

7

Ch'e1. 167. Chiao3. 142. Chih4. 166. Chiung3. 42. Ch'uan4.

153. Ch'uang1

40. I2.

. 82. K'uai3. 156. Lu3. 90.

Pan1. 104. Pei4. 161. Pien4. 123. Shen1. 148. Shih3. 69.

Shou3. 160. Ti4. 87. Tou4. 165. Yu3. 41.

8

Ch'ang2. 113. Chin1. 14. Cho4. 43. Chui4. 168. Fei1. 170. Fu4. 86. I*. 1 0 1 . Li4. 163. P'eng2. 64. T'u4.

106. Tzu1.

150.

6

Ch'i2. 70. Ch'ien1. 115. Chih4. 133. Chiu4. 139. Chon1. 66. Ch'u1. 51. Erh3. 146. Erh2. 164. Fao3. 130 Fu4. 40. Hsi1. 41. Hsia*. 41. Hsin4. 40. Hal. 135. Hui1. 110. I1. 16. Jou*. 65. Kua3.

118. , Mi3. 122.

11

Ch'ing4. 173. Lu4. 136. Niao3. 138. T'ou3. 82. Yin2. 172. Yu2. 142.

12 &

Ch'i2. 174. Chiao2. 176. Ch'ih3. 175 Huan1. 106. Kai1. 108. Lung2. 140. Min3. 108. Shou*. 144.

Sha3. 54. Shu3. 139.

Yao4. 88.

Teni4. 141.

9

Ch'ao1. 106. Che3. 159. Chiu3. 170. Chuan1. 164. Ch'uan2. 125. Fei1. 1 1 . Ko2. 105. T'iao2. 41. Yang2. 101.

1O

Ko2. 155. Kou4. 104. Ma3. 137.

Ssu4.

136. Tsao2. 102.

26 Etymogical Lessons. 1.

LESSON 1.

About the p r imi t ive , a single stroke.

I1 represents the unity, pr ciin ple of numeration;

It figures the pr imordia l un i ty , source of a l l beings;

— It is the 1st r ad ica l in K'ang-hsi's d ic t ionary .

In composition, says t he Shuo-wen, — is most co m m o nl y symbolic ; I t s d i f f e r e n t s y m b o l i c mean ings may be s u m m e d u

pr inc ipa l categories. p u n de r four

Firs t ly , w h e n w r i t t e n on top of [he com pound , — represents e i t he r heaven, or a roof, or any cover. Example:

Yu3 The rain. Drops of water fa l l ing from a cloud ea ns t h e ve r t ica l f a l l i ng ; t h a t hangs to — h e a v e n ; J m

— It is the 3th radical in K'ang-hsi.

— ex ten t of space that is

17

T'ien1. Heaven, the vastabove me , tn he highest of things;

Note that ( L . 60)

means watt an d not great; therefore do not translate the unique great. The derived idea, as expl

ned by all the commentators, is that of physical or mora l superiority. The

ai-

Ch'un-ch'iu says:

Placed abo

verns men... According to this fundamental notion, any superior, says the

ve them, heaven go-

Erh-ya, is the of hisinferior;

— For the compounds of , see Lesson CO C.

Mo4. The outmost twigs, the — top of a tree; — Phonetic

series 138.

Etymological Lessons. 1. 27

Secondly, placed below the compound, — represents the foundation, the base, or any support. Examples:

Tan*. The dawn, the beginning of the day. The sun above a line, viz. the horizon;

— Phonetic series 162.

Li4. To stand, to be erected. A man (L. 60) stand-ing upon

the ground. This character is the reverse

of , above C. It form

K'ang-hsi. Phonetic series 134. s the 117th radical in

Pen3. The t r u n k of a tree. The part of a treeabove the — earth. This character is the reverse of

, above D — Phonetic series 147.

Thirdly, — represents a barrier, a hindrance. Examples:

Shuan1 A beam — used to holt a door.

Ch'iao3. Difficulty in breathing, oppression;

The

line bent up represents the brealh that tries to go out, but is checked y the transversal barrier. See L. 58. — Phonetic series 3.

b

F : ourthly, — represents something contained. Example

Hsueh3. Blood. A vase containing — something. Thi teblood of the victim in the sacrifices;

s charac r primitively meant the oblation of the

See the Legge's edition, Part II, Bk VI, Ode VI, 5,

The modern signification, blood, is a derivative, chuan-chu. See Lesson 157. — It forms the 143th radical in K'ang- i. — Phonetic series 208. hs

28 Etymological Lessons. 2.

LESSON 2.

About the character , two strokes, and some of its derivatives

Erh4. Two. The number of the earth, because it makes the pair with heaven. The number of the two principles yin and yang.

— It is the 7th radical in K'ang-hsi.

In composition, has three different uses.

Firstly, means two. Example: Jen2. The fundamental virtue of Confucianism, which t he Shuo-wen defines:

, to love each other. The benevolence that must l ink each man with his neighbour;

two, mutual, reciprocal. From is derivedNing

4. Coaxing, flattery; ; the of

men. wo

Secondly, represents two terms, two extremes. Examples:

Chi2. Activity, working up of faculties, struggle for life. A man who acts, who struggles, with his mouth and his hand, between heaven and earth, to gain his point;


Ken

n

4 or Keng4. Idea of passage, of crossing, of duration, betwee two terms. Ilrepresents a passage- boat, that crosses from one bank to the other:

See L. 66. — In e modern writing,th

(L. 76 H) is often used for . II is a mistake. Note the compound Heng. Constancy, perseverance. The heart (the wi l l ) crossing f om the beginning t i l l the end, as ar

boat does from one bank to the other; the moral trip con t inue d t l li one reaches the harbour. Rather a well found simile.

Etymological Lessons. 2. 3. 29

G Thirdly. is an old form of shang4, h igh ; a n d — reversal, an old form of hsia4, low. See L. 5. —This remark is to be remembered; there w i l l he many applications of it. See, for instance, L. 3 D, L. 29 H, etc... isometimes reduced to a single stroke, as in

s L. 43 N, L. 50 0, etc.

LESSON 3.

About , three strokes, and its derivat ives. San1. Thr e;e The n u m b e r of

r a n i t y ; theheaven ea th a n d h u m san1 is'ai2, three Powers. Hence Wang2. King.

According to the ancients, the k ing is the one, the man who connects together heaven earth and h um a n i -ty. See L. 83 C. — Phonet ic series 87.

represents boundary lines, l imits , in C iangh 1 . Bounds. The partitions tha t d i v i d e and l imi t two fields; Phonetic series 724.

straightened , forms a part of heaven; auspicious or

h the will of heaven is known to mankind

Shih4. Influx coming frominauspicious signs, by whic

; The two horizontal lines are the old form

of the character shang1, hihere ;

gh, superior (L. 2G); they mean heaven The three

linesvertical represent what is hanging from hea- u

sven, viz. the s n, the moon and the stars, the mutations of which reveal to men the transcendent thing ;

The actual m - eaning, to teach, is chuanchu. forms the 113th radical of characters relating to transcendental mat-

Noteters. its modern contracted form, tha t is easily mistaken for the contracted orm off garments (L. 16 A).

30 Etymological Lessons. 3. 4

doubled forms hsuan4. It is believed that this character figures the. primitive abacus, and has no- t h i n g to do w i t h See a n d L. 47 G, F. A n

m y -

how fro is derived the phonetic compound hsuan 4, garlic.

LESSON 4.

About the dot.

Chu5. A dot , a s ign of puncthe dot was ro und ; it is n o w p ithe. w r i t i n g - b r u s h t h a t wri tes

tua t ion, etc. Formerly r i f o rm , on account of thus. It is the 3d radical

in K'ang-hsi.

is found in the. following characters:

esents a l a m p , the. f l ame of w h i c h is Chu3 The i n f e r i o r p a r t repr

One wri tes now to mean a lamp, the character signifying

c h u s t e r Becaus , say the i n t e r - ( c h u a n - u ) pr i nce , mpreters,

e the prince

rises ab o e t h e m u l tf l ame rises a n d shines over t he lamp. — Phonetic series 115. n

v i t u d e a n d is seen by a l l , as the

Ta a r . The1. C i n n a b is supposed to represent the red mineral , a n d the min e where it is found;

The ancient charac rste suggest a different interpretation. They represent the crucible of the Taoist alchimists, w i th cinnabar in it De- compose and recompose cinnab r, was their chief pratice. See L 115 D. — Phonet ic Series 83. Compare,

a c-

(L.14T.) —Two old characters express the (L.30 )transformation of mortal men i n t o immo ta l genii, by means of

D r

a lchemy and d iv ina t ion (L. 56 A.) i t i n g , many characters, for in tanceD N.B. —In the modern wr s , are

y different in su rmoun ted w i t h a dot, t h a t replaces e l e m e n t s w h i c h are ver the a n - cient wr i t ing . It is t h e same wi th the do t i n t roduced inside some of the characters, for example The wr i t ing -brush is the cause of i t . — Note by the way that the th radical, is but a corruption of 8 the 11th tb radical.


LESSON 5.

We saw (L. 1, 1° and 2°) — used as meaning an horizontal line. From this accep- tionare derived the following characters;

Shang4. Up, upon, superior, to mount. A sign placed above, the fundamental line , signifying above the level;

The ancient form of this character was (L. 2 G), the smal ler top l ine being usep as a sign elatively to the longer bottom line. In the more

recent forms, the sign became more and more intricate. — In the modern wr i- ting,

r

kept up its ancient form at the top of many characters, for example , . It is to be distinguished from , the fictitious Sth,radical in K'ang-hsi.

(See L 4 D). Hsia4. Below, to descend, inferior. A l ine traced below the fundamental line , signifying below the level; —TOf th i s character was

he ancient form (L. 2 G), the shorter bottom

line being used as a sign relatively to the longer top line.

LESSON 6.

About two primitives, and

Firstly, kun3.

Kun3. A vertical stroke, a perpendicular; — It forms the 2d radical in K'ang-hsi.

is f o u n d in m a n y characters, in which it has generally a symbolic significat

It ion.

runk , in L. 119 A.

ixed in a target, in centre. L. 109 A.

It represents the tMu4. Tree. See

It represents a man standing, in Shen1. To gird up (with both hands). See L. 50 C.

It represents an arow fChung1. Middle,

32 Etymological Lessons. 6. 7.

It represents a spindle running through two objects, in Ch'uan4. To string together. See L 153 B.

It represents a bow-string, in Yin

3, to draw a bow; See L. 87 A. Etc.

Secondly, chueh2. Chueh2. A crooked stroke, a hook; It is the fictitious 6th radSbuo-wen gives no derivative

ical in K'ang-hsi. The s from this primitive.

However, in the modern characters, occurs very frequThe reason of the

ently.

is thfact that, with e writing-brush, it is easier to trace than Consequently:

1. replaced in many characters, for example :

ao3. See L. 18 H.

2.

Hsi

is arbi t rari ly written, as an abbreviation of different figures, f

the longer l ine of or example, for

in

Ts'un4. See L. 45 B.

. B. —

inverted gives

Chueh2. A hook,

N

. that is found in

Yueh4. A halberd with a hook. See L 71 L.

LESSON 7.

About the primitive

P'ieh1. An oblique l ine from righ to left; General idea of action, of motion. — I

titiou 4th radical in K'ang-hsi. Nearly all the modern

t is the fic s

are abbreviations for other signs, while the true are hardly recognized in the modern writing. For example:


Sheng1. The tenth part of a bof

ushel. Composed bushel, and of which f

part of it is taken o2 ye-brow;

igures that a tenth ut. See L. 98 B.

Mei . E represents orbi ta ; the lines on the top r pr

the curve of the e esent the hairs;

is the eye. — P honetic series 463.

inverted gives

Fu2, an oblique line from left to right. This stroke that seldom occurs in the

ancient writing, is now frequently used as an abbreviation.

and combined, give

I*. To cut down with scissors

, to mow. See L. 39 B.

LESSON 8.

About the primitive

I4. To draw, to drag; Forms several compounds, for ex.

a thread, to kill ook was changed

t

I*. A crooked arrow, a dart, kept bybirds. In the modern writing, the hin o a point; and that represents the threaction of drawing the ar ow back, b

ad or the r ecame . It forms

ical in K'ang-hsi.

onetic series 213.

the 56th rad

I4. To draw. See L. 50 F. — Ph

The same in ti4, L. 135 G. — in pa2, L. 134.A. In hsi1, L. 92 B. — IN cheng1, L. 49 D, whe-

re

became in the modern writing.

inverted gives

I4. To drag; Is found in

rag, to trail. See L. 50 G. Yu2. To d

34 Etymological Lessons. 9.10.

LESSON 9.

About the primitives i1 and ya2.

I1. Germination; it representsto get out;

the germ that strives Hence,

al charac- general notion of movement, of effort. Cyclicter. To be distinguished from B;

— It is the 5th radical A. mong its derivatives, note L. 90 B, L. 129 A, and Shih1. To t le slip f om ther handL 48 B. — Pho etic series 155.

, to lose. See n

Ya2. Swallow, It represents the jerking flying of this bird, . To be distinguished from A; —Phonetic series 1. Logical aggregates, , L. 94 A, Bting is

, etc. The modem wri-

Ya2 Swallow, the jerking bird. See L. 138.

Note: The scribes often write as an abbreviation of intricate compounds. In that case, it is ne i ther i1 nor ya2, but a conventional sign. For instance, for

, etc.

LESSON 1O.

About the primitive and its two important compounds, and , with their series; then about the derivatives

Yin to

, a group apart . 3. Curve; cover, to conceal;

First series: combined with — ( L . 1), gives

Hsi3. Chest, trunk, box; Therefore represents — the cover, the chest

It is the 23th radical. — or the action of containing. —Note the next derivatives:


Lou4. Shut up, in a confined space; As in a cliest. It forms the compound

, mean, ugly perhaps; cave-dwelling moun- e engravers often take off taineers (L. 86 A). — As th

a part of , to make room for , this character from might seem to be derived (L. 41 A), which

it is not.

Ni4. To hide, to ahseoud; — (L. 46 G) meaning to

gregate means, to gather an collect, to gather, the ag- d to hide in a chest. Pho-

netic series 639. Note. The derivatives of Hsi, the 23th radical, are to be distinguished from those of Fang, the 22th radical. In the ancient writing, the two series were distinct; in the modern writing, they are mingled together. See L. 5t A, and the Lexicon by order of Radicals.

Second series: combined wi th (L. 15), gives

Wang2. Primitive meaning, to hide; Now meaning to enter, means to en-

erived meanings, to die, to ish. — Phonetic series 35.

Cha

ter into a hiding place. Dperish, to van

4. It is , plus . But the line representing an obstacle, as in (L.1,I),

to hide one's self and to rn meanings chuan-chu, Phonetic series 102. See L.

37 G.

o beg, a beggar;

the meaning of cha is, to trybe hindered. Hence the modesuddenly, unexpectedly. —

Kai4. T A wandering man, who seeks a refuge in a foreign

alms fo is livelihoodcountry, begging r h ; See L. 54 A. In the old

form, and were in juxtaposition; then covered . Note the fancifuthis character.- It form

l modern contractions of s an important compound

See L. 73 A.

36 Etymological Lessons. 10

Sang1. Etymologically. to weep over the dead; funerals. This compound is a typical picture of the Chinese thing which it means: to howl with several mouths, as dogs do, over a dead person. Meanings chuan-chu, to die, to destroy. Note the contraction of the lower part of the modern character.

Wu2. A multitude (L 24 H) of me", acting upon a forest, felling the trees, clearing of wood a tract of land. In the old form J, stated tha t the wood had vanished. Hence chuan-chu the general abstract notions of vanishing, defect, want, negation. — Phonetic series 718.

Note. The study of this second series, E F G H I J, proofs with evidence that it is impossible to understand the characters, if one attends only to the modern forms,

Third series : combined with ten (L.-24), and eye (L. 158), givesthe interesting following compounds :

Chih2. Perfect ly right , n o t curved in the l ea s t ;

The eyes h a v i n g looked at something, d id not discover any deviation. Pho- netic series 335. — Note t he r i gh t way of w r i t i n g th i s character. The modern engravers cut , so that one may believe it is composed of two strokes . The scribes often change it in to a single horizontal line ,etc.

Chen1. Perfectly t rue ; So- mething having been exposed on a pedestal, ten eyes could not find any fau l t in it... The of the pe-

destal was mingled wi th the lower p a r t of . Perfect genuineness of nature be ing the characteristic of the Taoist Genii, the scope at which the Taoist transformation (L. 30 D) of man aims, the Taoisls replaced by at thetop of chen (contraction).

The calligraphic remarks

made about , are to be made here also. — Phonetic series 509.


Te2. The rectitude of the, heart. In modern writing, the was bent down

to gain room (L. 158 A), the is often reduced to a small horizontal stroke. — It forms the compound

te2, moral conduct ( L. 63 A) directed by a righteous heart, righteousness, virtue. — Another compound is

T' ing4 Rectification of the hear t heart of a disciple (L. 81 0) or anauditor , by his

ear (L. 146 A). To hear, to listen,

to be attentive, to conform to instruction, to obey...

ting is also phonetic . — It forms the compound T'ing1. From shelter and to hear. An open hal l , used for meetings, teaching, official proclama-

s (L. 59 J ). tion

Hsiao1 has nothing in common with this seSee LL. 12 N, a nd 16

ries. 0 A.

.

Note:

Lesson 11

about , three series perfectly distinct in the ancient writing, but mingled together in the modern writing.

First series: hsun4. Before s tudy ing this pr imit ive, one must explain Fei1. To fly. A primitive. It represents a crane (very common in China) seen from behind. Upwards, the head a n d the neck bent u p , as when the cranes arc flying. Below, the tail. On both sides, the wings fluttering. The small strokes represent the qui l l s separated when the bird is flying.

— It is the 183th radical in K'ang-hsi. That being granted, one may now explain

Hsun4. To hover. A primitive. Compare with A. The crane is hovering; its wings do not flutter. The feathers being close together, are not visible;

— Phonetic series 20. Note the compound


Shih1. Formerly, it meant ring

the mosquito, the hove- insect, forming swarms, that bites men ;

Now this abbreviated form

character means a louse. Note its t ath it commonly called

pan4 feng1, half wind. However (L. 21 B) has no- t mhing in co mon with . See also hsu4, below G.

Second series: Chi*. Is derived from the p r imi t i ve

Chi*. To catch. This primitive is found only in one compound, with the hand (L i8), which gives

Chi*. To do, to hold. It represents the hand doing or keeping something; forms important compounds in which it is nearly always wrongly shaped. The scribes write (as above B), or

(as below J), or (L 21 ), etc. See shu2, L. 75 E; i4, L. 79 K; chih2, L. 102 G; lo3, L74 B;etc.

K'ung3. To do a work (L. 82 A), by pressing or knocking; pounds

Notice the com- k'ung3, pulsations of the heart, fear;

and

chu2, to bui ld a clay-wall by battering mud betwen boards a nd mats. — Phonetic series 226, under its modern form.

Hsu4. The end of t he night , before d awn; the t ime for oblations and sacrifices;

Lit. To present one's self before dawn, when it is still night, while holding one's ofl'ering for

acrifice. — In the modern form,s mutilated covers Compare with feng1 denived from fan2,L. 21 B.

Inverted, forms

Chu . To seize, to hold;2 This ancient form is no longer used and was replaced

by .


Both combined form Tou4. To seize each other, to fight;

— It is o he confounded wi

the 191th radical in K'ang-hsi, not t th the 169th radical.

Third series. wan2. Wan2. A pi l l , anythingpreceding

round. Often used for the . It is chai3 i

deri vatives of nverted (L. 59 E). — The

(phoneticguished from those of

series 34) are to he distin- (L. 21; phonetic series 19).

It is sometimes difficult to make the distinction.

LESSON 12.

Tins lesson contains three series, , and an appendix.

First series: chuan3.

Chuan3. Small water course, rivulet; A primitive. Forms some important compounds,

as:

Shui3. Water, small river; The four strokes added to the rivulet represent the waves of the water. See L. 125. — It is the 85lh radical in K'ang-hsi.

Yu . Primitive meaning, to sound a ford. 1 A man crossing writer, holding with the hand a

stick ( L. 43 [)), sounding the river with a stick; An ancient rm

simply composed of fo is

water and to sound. — Chuan-chu the place where one is going. Often used chia-chieh as a relative

1 placed under pronoun. — Phonetic series 3 8, in which the radical is etc. In these compounds. may be easily taken for th

radical; in real Ry e

is but a part of the phonetic. The small stroke at the right of is what remains of in the modern writing. — Note that has no relation with this character; it is an arbitrary abbreviation of pi4, pei4 (L. 54 G).


Second series: kuai4. It is doubled

Kuai4. A river, a stream larger than This charact

by er, now obsolete, was replaced

. — Forms some compounds, for instance

torrent (L. 126 D).

2. A boat ( L. 14 F).

e t

Lin2. A

Yu

Note that ngravers substitu e for the character , reasie to be engraved.

But being also an abbreviation lor , the l8th radical, this double employ of th e sign brings confusion. e sam

ch'uan1. IThird series:

t is repeated thrice. Ch'uan1. A river, a b g i stream formed by the junction of several others; Note the differences in the modern writing. — It is47th radical. P

the honetic series 18 Note the following

compounds:

Lieh4. Bubbles; The phonetic is not hsi4 ( the 36th r ical), as the modern character

might suggest; it is ad

tai3 (the 78th radi al) contrated, It f

c c- orms the important compound lieh4 (L.

52 D).

Yung1. Moats. the wr i t i g ta-chuan, instead of

In n i4, city ( L . 74 C),

ere was th , representing circumvallations (L. 90 G); — It forms the compound

aYung1. Wagt il; the bird that likes the sidof moats

es . This character is the important

phonetic 769, under ts mod rn i e contracted form ( takes the lace of p , and Of . See L. 74 C, and the series hsia , L. 26ng1 M.


Ching 1 . The underground water courses, so impor - tant in the Chinese geomancy feng-shui.

The currents of water that flow under the surfaceof the ground (L. 1 . 1 ) . The phonet i c is not

kung1

(L. 82), as the modern character mig h t induce one to believe, it is t'ing2 (L. 8l D). The primitive meaning was perhaps to examine the underground veins. — Phonetic series 262. Tsai1. Actua l mean ing chuan-chu, calamity, misfortune; . Primit ive sense,

A r iver barre d (L. 1 ,3 ) , which causes tca la mi t y of i n u n d a t i o n . The character now used to mean calamity, is the compound

he

, t h a t represents indifferently ei ther a flood ( water), or a fire ( fire). Note moreover the next compound:

Tzu1. Grounds uncultivated, exposed to floods;

One writ es now Thcharacter tzu1

must be carefuf ro m

lly distinguished tzu1 (L. 150) t h a t forms the phonetic series

406. The two have no connect ion whatever. — The engravers often cu t

, instead of , because it is the confusion of series.

H

easier; hence

uang1. Devastation, ravage caused by the rivers; , See L 10 E. - It forms.

Huang1 . Wild, barren, drought, nsequence of inundations for a co

the, plauts. Phonetic series 536.

uptible uprightness, inflexible rigidity of principles;

K'an3. Incorr

Fidelity ( , an ancient

fform o ) to one's principles, constant as the current of a river. See L. 25 H.

ble (iles or continents), he lands are represented by

g rounds in the old writing. This chara

Chou1 Main lands inhabitasurrounded by waters. T

three points in the modern writin , and by threecter was composed of two superposed.



Appendix: In a l l the fo l lowing characters, is not ch'uan, hut it represents the hair. Nevertheless they are nearly all classified under the 47th radical.

See L 40 B.

zuT 3. Different wr i t ing of , a child horn with hair. See L. 94 A.

r imi t ive sense, partus ce- coming first. See L. 94 F.

h a i r y head. See L. 160 A

ad of a criminal hung angs down. See LL 160 A,

119K.

( r e e , t h e b i r d cover ing

T'u2. The las t inverted. Pphalicus, t h e h a i ry head

Shou3. A

Hsiao1. The last inverted. Heup, as a lesson; the ha i r h

Oh'ao2. A bi r d ' s nest u p o n ai t ; The at the top ot a tree is the. nest (hands (1, 50, A ) ;

a p r imi t ive , and not both represent

brooding on the nest. Nn o t h in g in common wi t

s t h e feathers o f t h e bird ote tha t this character has h kuo3 (L. 110 F) , though

it in t ha t way. — Phonetic th e engravers a lway s c u t series 594.

LESSON 13.

About the p r i m i t i v e Ch'ui2. An object suspended, a pendant; with its mult iples

First series: doubled . It is f ound in Shan3.

A thief bringing under his arms stolen things ( a man, L. 60 A). It forms the compound Shen3, the name of the Province of Shen-si.


Lai2. represents bearded ears of corn hanging down, ; the other part of the character is a primitive, representing the plant. A sort

of bearded barley, which constituted the main food of the people under the Dynasty. This character nowmeans chia-chieh to come, the contrary of

to go.—

Phonetic series 374. Note the following derivatives:

Mai4. s comIt i posed of and of (the 35vance; ripening

ther barley or wheat, according to HIP times, the places, or the epithet added to it. — It is the 199th radical of a group of characters relating to corn.

th radical) to ad- corn. Now, ei-

Sbe4. Primitive sense, corn thered in ga the barn;

; this character is now written . Meaning chuan-

chu, thrift, parsimony; for the. countrymen are not inclined to waste corn that cost them so much labour. — Note how, in the modern character, the bottom of

and the top of were blended into a —... Phonetic series 755.

Yin4. logical a gg regate. A dog ( L. 134) that s

points of which are. represented byhows his teeth, the

instead of (page 16, notice 1) . It forms the phonetic compound

yin4, to desire, to ask, etc.

Note: chia4, to pinch (L. 27 F); tsu2, soldier (L. 16 M ) ; as well as different others (27 B C D E), have nothing in common with the primitive which is spoken of here.

Second series: A repealed twice and superposed . It representsthe hair of the eye-brows, in the hanging fruits in

Mei 2, eye-brow, L. 7 A. T'iao2, to bear fruit, L 41 E


Third series: repeated four times . Note the arbit rary deformation of the modern forms in this series

Ch'ui2. A bough loaded with leaves and drooping flowers; This character,

its synonym and homophone now obsolete, was superseded by the next compound,

Ch'ui2. To hang, to be suspended from. It is the last chara t'a3, the earth (L. 81), the cter combined with l aves hanging down towardseries 485. e s the earth. — Phonetic

Hua1. Flower; The vernal expansion ( L . 58 E) of lea-

e . second a nc i e n t char ac t e r ,v s a n d flowers In t he is a r ad ica l r ed und an ce . 7687. -- The modern charac ter

(L 8 B) . — Ph on e t i c series , means the term of

vegetal evo lu t i on , t h e flower ( L . 30 D).

Ch'a4. Divergency, error, etc. It is a logical aggregate. was ful ly explai-

00.

SU4 Pongee,

See L. 46 C, where this character ned. — Phonetic series 5

silk obtained from the cocoons of on thewild silkworms, collected boughs of mulber-

ple. — Phonetic series

Kuai1 . It represents the torso, back view. The verti-

ries. Chuan-chu, natural , sim568.

cal l ine is the spine, repeach side, — represents the

resents the muscles on waist;

— It fo

2

rms

Chi . Spine, back ( L. 65).


So far, all is right. But there wat another

Kuai1. Odd. singular, irregular. See L 103 C.

The scribes confounded these two kuai1. So well def ined and distinct in the

ancient writing, and they formed the single modern character , which resembles neither of them. Now one may read in K'ang-hsi, under the arbitrary radical kuai, spine, odd,

irregular.Who is to blame, if the students not forewarned, find Chinese

characters absurd

and inexplicable?

LESSON 14

A b o u t the p r i m i t i v e a n d its more i m p o r t a n t der ivat ives. Three series,

Chi2. Notion of union, of assemblage, of a junction of different elements, represented by three lines. Three is used to mean m a n y ; wh i ch is n o w c o m m o n l y superseded by th e character

. A primitive,

chi2 ( L . 119 G ) . It forms

First series;

Ho2. U n i o n , a g r e e m e n t , h a r m o n y ; Etymologically,

many ( three) mouths ( L . 72) speaking together; good understanding. — Phonetic series 198. — Note

the two following compounds: Ta2. Vetch, pea, vegetables whose bougentangled. Cto adapt, tosense, thiswritten

hs are joined, get huan-chu, to join, answer. In the last

character is now , which is unautho-

honetic series 570. oin

rised. — PYen3. To j the hands to cover soSee L. 47 L

mething; to cover. — Phonetic series

496.

46 Etymogical Lessons 14.

She1. A shed, a booth; Joining of walls in beaten earth

and of thatch (LL. 74 and 78). In its modern form, this character seems to be der ived from (L. 102 C135 th radical), under which it was classified by K'ang-hsi. Rut there is no relation whatever between both. It forms the compound

,

she3, to part with,to reject, and the logical aggregate Yu

2. I. me; Comp ioosit n :

to distinguish (L. 1 8 ) ; cont racted, being replaced by

. The Chinese custom requires that anyone enter ing a house, should make known his presence and distinguish himsel f from any other person by crying ou t : It is I, so and so, who comes for such and such a purpose.».. A man entering a house and keeping silence, is liable to suspicion. — Phonet ic scries 3 1 9 It forms the, phonetic complex

Ch'a2. Tea; The modern sc r i bes mut i la ted the ancient form. — Phonetic series 507.

Hui4. To gather, a meeting; To order , to add (contracted,

L. 40 D). The ancient character was simpler;

To assemble

a mult i tude represented by three. — Phoneticscries 736.

Ch'ien1. Meeting, together ; . From to gather, from several men, from

Yu2 A small b

several mouths. It is a wel l known fact tha t a Chinese crowd cannot keep silent. — Phonetic series 726.

oat, a pr imit ive barge; Junction of a few planks,

forming a bout , to go up the river (L. 12 D). Note for (. L. 66). Note also tha t the engravers

en cut

oftof th

instead of , which wrongfully reminds e 18th radical (L. 52). — Phonetic series 501.


Lun2. o gatherT documents (L. 156), to com- ditate, to develop thempare, to me ;


hich is much like the g, is not derived f r i t .

Yao4. This character, wprecedin om

A flute, a pandean pipe. Assemblage of se-

vera l bamboos, the holes of which are disposed in a row, and t h a t gives sounds together ;

Now, accord, h a r m o n y , in genera l . — It is the 214th radical of characters re la t ing to pipes a n d si- m i l a r instruments . — Phonetic series 835.

Note, the two o l lo w in g charact f ers: l ing 4 , decree; d i t ion of a an d its compound by the. ad month, ference b en thming4, order. There is a dif e twe em. : to lix upon a written

order th e seal ( L. 55 B) w r i t of exe

h i c h m s it a wcution.

ak e ; an order gi-

v e n o r a l l y . — In t h e philosophical language, mheaven ca l l s men to life, a n d de tanc ien t characters expre

eans the decree by which e r min e s the i r f a t e . Two

ss this m e an in g w e l l : mouth of heaven dic ta t ing ween

to a man h is d e s t i n y be t - heaven a n d ear th (L D. 2 ) . . . combin ing

of the dest iny of a man.

Phonetic series 135.

J Note. In the modern w r i t i ng , may be easi ly confounded with 11th radical, L 15), ( 12th radical, L 18), ( 9 t h radical, L. 25) placedon the. top of a compound K'ang-hsi a rb i t rar i ly classified

under

under , etc. But the horizontal l ine of , some vestige of which general ly remains, is the test t h a t manifests t h e mistake. Its presence is indicative of a der ivat ive from . — See L. 15 B.


Second series; . This character is put apart from the derivatives of , on account of its many and important sub-derivatives.

Chin1. The actual moment; notion of actuality, of presence;

The com osp ition is taulologic; union, contact. Note that is often written . For the old forms of chi2, see L. 19 E — Phonetic series 17. It forms

mouth ( to have actually Han2, hen2. To hold in the in the mouth);

Meaning chuan-chu, to conetic series 272. — It is d

ntain, to shut up. — Pho- istinct from yin2, to

ed of the same elements.

T'an1. To

mutter, which is compos

covet;The feeling moved by the presence precious object Its phonetic compounds are unimportant.

Nien . To remember, to think again of ; 4

actually presen , To make tto the heart, to the mind,

speak of, to recite, to read; these al, the idea of a thing

etic series 385.

Yin3

a fart of the past. Derived meanings, toactions reviving, making actupassed or absent. — Phon

. wine (L. 41 G), new. It forms

Yin ; to water. This character is now 3. To dr inkwritten ,a wrongly chosen compound, for it means to wish for food. Ther were formerly cters

e three chara-

Yin3. To have water in one's presence ; to

Yin3. To have food

drink.

at one's disposal ; to eat.

Yin3. To wish for wine: to drink. cter, which was the right one, became

taken from each of the last The first charaobsolete. An element was

two. Thus was made the irregular character


Yin1. Cloudy weather; Lit. There are actually clouds

(L 93 A). In the dualis t system, yin denotes the nc ), by opposition toinferior pri iple (obscurity

yang the superior princ pli e ( l ight) . The compounds and are now used. yin

tershed

1, the shady Northern wa of a va l l ey ; yang2, the sunny South watershed . See L. 86 A.

Ch'en1. The sharp pike of a mountain (L. 80). It is a phonetic complex; — Phonetic

Ch'in2. A phonetic complex. See L. 23 E.

lex. See L. 83 B. Note the

series 253.

Ch'in2. A phonetic compcontraction.

Third series:

Chin1. Metal. According to the Chinese geology, the metals are born from the earth. etymology:

Hence the

In the hosom of the earth , two grains or nuggets of gold; is phonet . The bottom stric oke of

is combined ith the top of w , and is sometimesverted, as stated above K. This interpretation was

made by Li-ssu. — The old character was composed offour nuggets, of horizontal lines denoting the stratifi-

cation of the metalliferous layer, and lastly of a covwhich meant that the whole was conceited under the earth. Evidently a primitive.

in

er

— It aracters descriis the 167th radical of a group of ch bing

metals and their uses.


LESSON 15.

About ll>e primitive and its derivatives.

Ju3. To enter, to put in, to penetrate into; The character represents

the penetration of roots intol ine representing the plant, the twodenoting the ots. It is the

the earth ; the vertical descending lines

ro reverse of ch'u1, to go presents a plant growing

upwout (L. 78 E), that re

ards; — It is the 11th radical. rfect. The etymologists

t ions of this character: 1. The o ld one

Ch'uan2. Complete, entire, pegive two different interpreta

: The work (L. 82) is ordered , l inished, complete, perfect.

According to th is etymology, is der ived f rom (L. 1 4 ) a n d not f r o m T ot tom stroke of he b is

ic o m b i n e d together w t h the top stroke of 2. The modern one:

A jade (L. 83) spotless, perfect; would he an abbreviat ion of yen3 (L. 117 B) , u ed as a phonetic. This unli ly supposition is of Li-s

Phonet ic series 192, u n d e r its present Conn.

ske su.

N ei l To enter, interior, into; chiung3, t See he outside, L. 34

es 74. It forms To speak in a whisper, as it were

A. — PhoneticO

, seri4. Na4 in to

one's month. Note the modern form contracted. Taken for (the

p 16, I ) , it forms t h e two

Yu4. To penetrate into

co mp o un d for t h e sim le, p. following characters:

, to pierce with a sharp instrument

netic series 720. ( L. 95 C). — PhoHsi1. Swallow;

A bird that builds withinits nest

the dwel common in China);lings (a thing (and not , as the modern cha-

racterm a y b e so; it seems probable however that

might induce to believe) represents the head (L. 78 A), says the Glose. It represents the grass with which

the swallow stuffs its nest. — Phonetic series 840. is a wrong abbreviation othis character (see L. 87 C).

f


The following character is der ived from , and not from . It is formed bycombination and fusion of

and . The mouth at the bottom of the

compound, belongs to

(L. 73 C).

Shang1. To give advice, to consult, 1o deliberate; To express , one's interior feelings.

In t h e old c h a r a c t e r there, were two

days added, which proves that the deliberations of old, were no t shorter t h a n the p resen t t i m e onos; they p rob ab ly took place d u r i n g the n igh t , between two days, jus t as now; — In the sense of trade, is chia-chieh for its com-

i th pound w (L. 161, cowry, the money of the an-ents), trade, being made with

ci talk and money.

The Glose says so.

E In the modern writing, became on the top of wang2 (L. 10 E), lin3 (L. 76 B); and in erh3 (L. 18 0). — Two are a part of thecharacter

liang3"(L. 35 H I).

LESSON 16.

About the primitive

Ic

1 . Clothes, a cover, cloak. The summary outlines of lothing. On the tup. the, uppe r garments and sleeves,

At the bottom, the robes waving a n d raggling, d — It is the 145th

rgn

adical of a large group of characters relating to arments. The phonetic complexes are not important; ote i1, to rely on, to trust to. Note the modern contracted form, and compare it with that of 113th radical (L. 3 D).

Note. In composition, has three positions. — 1. One the le f t side of the character. It is then contracted under the form . — 2. on the top or at the bottom, it is then unchanged. — 3. Cut in to two halves, on the top, at the bottom,the phonetic being introduced between the two. These characters are n o t to be confounded with those belonging to the 8th radical

is the test; any time one sees at the bottom of a compound, then it is a derivative of 145th ra-dical, not of

8th radical. — 4. Note also that in some characters, as a conse-

quence of the fusion with an element placed on the top, the upper part of

is quite altered in the modern forms. The lower part has also been altered in the character (L. 16 M).

52 Etymological Lessons, 16.

Examples of the four remarks.

Note the fo l l owing der iva t ives ;

Ch'u1. Beginning; A knife and garments; for, says the Glose, the

tting is the first thing required to make clothes. cu . This is quite true!

Nai1. To bewail, to lament; H o wl in g of t h e mourners clad in m o ur n i n g

dre

Shuai1. S

ss.

o1. Straw-clothes against rain ; (S

noee L. 116). This character is

w written — The modern meaning, decay, is ia-chieh for ch , c

exachexy from malaria, slow

haustion caused by the marsh-fever, the disease the rainy of series

56un

C ri e under-garments

countries. -- Phonetic 3, der its modern form.

hung1. P mitive sense, th : clolhes, inside (L. 109);

Then, by extension, the inside of man, the feelings of his heart, fidelity.

Kun3 Official robe of

wthe Emperor, adorned

i th dragons; . See L. 18 C.

the modern form. Its

Note — phonetic complexes

are not important, v. g.

T g re to be cad

s

kun3, to bubble.

he two followin characters a re fu l ly istinguished:

Li3. The inside, the l ining of clothe , Then, in general, interior, inside. is a

synonym. See L. 149 D. Ko3. To tie up. Note that

er lo3 naked, composed of the same elements, is neithan homophone nor a synonyme. See L 120.F.


Hsiang1. To take off one's ,robe , in order to work in common, to help the others.

See (L. 72 H) the radical nang2, intricate and unrecognisable in the modern writing. — Phonetic series 831.

Huai2. To tie the clothes tight round the body; to hide in one's bosom; See (L. 100 C) the phonetic tai V — Phonetie series 820.

Piao3. The outside of the clothes (compare above G). The first garments were beasts'skins worn with the ha i r outside;

See L. 100. — Phonetic series 389.

Yuan2. Trailing robe; A b o u t , contracted a n d combined with , see L, 91 E. — Phone t i c series 587. It forms the phonetic complex

Huan 2 . Timid looks; See L. 158. — Phonetic, series 734, under Its modern coutracled form.

Tsu2. Soldier, satellite; A garment , marked with a sign. The uniform o

soldiers, viz. an ordinary garma r k ;

f the ancient Chinese ent w i t h an indicative m Then, by extensi he man who s the uniform, a soldier, a satell i te . Lastly, a sudden a n d unexpected accident, end, death; the soldiers, sa unceas- ingly laid open to surprises and to death in thei r fights against the enemies and against the wi ld beasts. — Note the alteration of the two modern forms, — Phonetic series 403.

on, t wear

ys the Glose, being

54 Etymological Lessons 17.

LESSON 17.

About the pr imi t ive and . in an appendix, about some characters tha t might seem to be de r i ved from i t , b u t t h a t do n o t do so in real i ty .

Ping1. To freeze, ice; It represents t he rays tha t

appea r by crystall isat ion at the sur face of water when it is f reezing. — It. is the. !5th r a d i ca l of characters r e fe r r ing to cold, freezing, a n d ice. It forms.

Ping1. Ice; water crystallised;

— The scribes often wr i t e ,

c o n f which is an unau thor i s ed form. This is not

to be o u n d e d wi th yung3 (L 125 D)

Y e h 3 To fu se me la l s , so l id i f ica t ion of the melted metals;

See L. 85 E

T i a o 1 . T a k e n by f ros t , e x h a u s t e d , fading, d y i n g ; See L. 109 C.

This character suffered f ro m m a n y f a n c i f u l alterations in t h e course of ages. Its t r u e s o u n d is p' ing 2 . It means a horse s l i p p i n g on ice, nervous, a n - xious. It forms the homophone derivative P'ing2. Anxiety of the heart.

Now 1. The first of these, two characters was misused, as an abbreviation, for the family nnme feng2. 2. The second was misused and written (chia-chieh) for

p'ing2, proof, evidence, to lean upon. Then the scribes semi-repaired themistake, which change gave bi r th to the new character

p'ing2, proof, etc.

Etymological Lsssons 17 55

ungT 1. Winter. It forms chung1, end, extremity, term.

Before explaining these characters, the primitive must be dealt with. Ch ung 1 . 't represents a

of which is fixed by a tie . Hence two notions, end

L. 83 B. This character, distinguished from the

ls of K'ang-hsi. Now let us come back to

1

thread skein, the extremityor a brooch, to keep it closedand fixation. — Compare in its modern form, is to be34th, 35th, 36th, 66th radica

Tung . Winter The frozen end of themeant

year. The old character cessation of the solar action, confinement

of the sun; For, says the Glose, must be interpreted as in

2Lao , a paddock: oxen confined, In the modern w r i t i n g . was changed into by the scribes.

Now Chung replaced the p r im i t i ve . 1 , in the sense of end, extremity, term.

Appendix ln th ollowing characters, e f is a special primitive,

withthat has nothing in common . It means I .J; scales, streaks, in K.

Ju jou . Me

thongs, folds, in G H 4 4 at, flesh. .Thongs of

, made up into a dried meat bundle (L. 54). The anc t Chinese were usedsmoking it. The pay of a sch

ien to dry-salt meat, without ool-master is still called

shu-hsin, because hedried meat. See L. 65. — It is tof many characters relthe derivative

3

was formerly paid with he 130th radical

ating to meat and food. Note

Tsu . Credence-table charged with meat, that was offered in the sacrifices; See L. 20 D. K'ang-hsi wrongfu

allly classified this

radiccharacter under the 9th

Etymological Lessons. 17.

Ch' iao4 . The top l ip. flesh above the mouth ft forms the phonetic complex

Ch'iao*. To restrain on'es desires. There are various chia-

chieh. See L. 55 B This character is now written ;

it is a licence. It forms the phonetic complex chiao3 the feet. — Distinguish ch'iao4 from ku3

(L. 18 E) ; the modern writing of both is identic.

T'ien4. This character matches with the preceding. It means the chin, flesh below the mouth (aline between the two lips closed ).

The circle depicts the chin-dimple. See L. 41 B.

Hsi2. Thongs of flesh drying or dried in thesun;

Chia-chieh,

formerly, in days of old, ancient; or perhaps chuan- chu, the dried meat being old, if compared with the fresh meat. The second ancient form, which is incorrect, recalls (L 103 C). The modern form is contracted. — Phonetic series 358. It forms the phonetic complex

Chi2. Field p loughed by the Emperor. Appanage. Property.—


Yu2. Fish. See L. 142 A. Here represents the scales. A sharp head, a scaly body, a tail represented by (L. 126 C), makeup a fish. The modern characteris contracted. — It is the 195th radical of names and parts of fish.

Chiao3. Horn. See L. US B. It would be the preceding, less the tail. For, says the Glose, a horn resembles a fish. It seems rather to be that is a primitive, representing the streaks of the horns. — It is the l48th radical.

Etymological Lessons. |g 57

LESSON 18.

About the primitive , and its derivative , which forms an important group.

First series: Pa1. Etymological sense, to dprimitive representing the

ivide, to partake. It is a division in two parts, the

separation; This character now means eight, this numberinto two equal parts (notekind of unity in the Chinese12th radical. Phonetic series

being easily divided that four, a square, is a reckoning). — It is the 8. — In the compounds,

placed on the top of threduced to two points in t m

e character, is sometimes he odern writing, v.g.

for . Most of the characters having at the bottom e K'ang-hsi dictionary, asin th ,

have really nothing in comm— Note th

on with this primitive. e following derivatives:

Fen1. To divide, to separate, to partake; knife

(L 52) t h a t divides. Phonet ic ser ies 58 It forms , pecuniary

difficulties. That to which leads the

P'in2. Poverty

partition of goods;

was the money

thform is still

of e ancients(L. 161 ). The ancient

more expressive; dwellings,

to partake. Note t ha t the heritage being equally divided among the male offspring, and the

o ng many members, poverty llows the partition.

D distribution

Chinese families c untifo

Kuug1. Common. ivision and of private goods (L. 89 A);

By extension, justice, mplying a treatment equal for all; whilei ( L. 71Q)

means justice in the sense of a kind, decent treatment. — Phonetic series 68. It forms the phonetic complexes


Sung1. The fie- tribe; — Phonetic

series 394.

\Veng1. Hairs o

The modern msir, is a chia-chieh; the characters

r feathers in the neck. eaning, old man, a n d were

chosen to denote, appellations of politeness which existed before;

Phonetic series 584. See. kun2, L. 16 F, etc.

Pan4. To divide in two by the middle, equa l ly ; a half; Etymologically, to divide an ox in two parts, in a l l its length, as the, butchers do, hefore the c u t t i n g up . — Phonetic series 144. K'ang-hsi wrong ly classified this character under the radical

Yen3, The ravines, on the mountains' ridges;

separation and flowing of waters; . — Phonetic series 169. Note the phonetic

complex ch'uan2, a boat. Distinguish from pan1, I. 66 B. See L. 29 D.

K u 3 . A deep h o l l o w, a gorge, a to r rent ; — It is t he 150th

radical Phonetic series 284. Distinguish ku3 from ch'iao4, L. 17 H. The two are i d e n t i c in t he modern

wr i t ing . — It forms

Jung2, yung2. To contain, to Shut up; . From to cover, and hollow, a recipient;

. Chuan-chu, to endure, to heto compose one's demeanour, a mask, a face made to

ar,

disguise the depths of the heart. — Phonetic series 542.

Ilsun4. A ravine, a torrent. See L 118 D .


Chieh4. Boundaries, limits; the tines that separate men.


Pi2. Certainly, necessarily. An arrow that divides , t ha t solves a doubt , a dilemma;

It see ely been a kind of interjection pointing ou t a strict order;

ms to have primitiv

from it. K'ang-hunder the radi

There are, different meanings derived si wrongly classified this character

cal .mplex

— Phonetic series 148. It forms the phonetic co

M i 4 . A q u i e t retreat (L. 36), close, still, t; silen

It forms et, myster

. — Phonet ic series 383. Mi4. A grotto, secr ious (L . 80); Etc.

Second series:

Hsiao3. Small, trifling, mean; This idea is represented by the partit ion of an object already smal l by its nature;

— It is the 42th radical. It forms

Chien1. Point , sharp. A big object (L. 60) that becomes small on its top It is a vulgar modern character.

Hsiao4. To he like one's father, not degenerate; Small flesh , offspring, like the

big flesh, one's parent... pu-hsiao, to be degenerate; — Phonetic sederivatives of

ries 277. In the modern writing, some (L. 65 D) v.g. , seem to be derived

from ; the scribes are the ca e of this mistake, as of so many others.

So3- A smal

us

l object, not larger than the (L. 161) cowries used as money by the ancients.

In that sense, this character is now written . — Phonetic series 566.


Hsi4. Chink, fissure ender

very small, that leaves passage for a sl light (L. 88);

Note how the top of disappeared, by its fusion with the upper

. This character is now replaced by the compound hsi4, chink, fissure. . Striped;Mu4

This character is derived from the preceding; the on the top was suppressed, and replaced by (L. 62 A) stripes, added at the bottom. It forms mu4, the waving of grain; chuan-chu, grace, amenity.

Shao3 Little, few, wanting; It comes from to diminish that which is already small;

1See L 7 A sheng . — Phonetic series 80 It forms

Sha1. Sediment, gravel or sand deposed by water.

That which appears, when water

decreases. — Phonetic series 302. It forms Miao3. To contract the eyelids, or to use one eye only, in order to examine att ively

a subtile object. ent

By extension, subtle

Chiao3. Is derived from

, confused — Phonet ic series 465.

, and not from . A parrows . Lit.

the smal l bird that lives f rom the, superfluit and , by extension, a n y small bird. Note, tha

y of men; t t h e th remindsat of , belongs to . See an

analogous case in ( L. 34 F). — forms the following compound, in which passed through a still more singular alteration in t odern writing.

Chieh2. To cut ofhe m

f; See 71 F. Not to he

confounded with the d e r i v a t i v e s of , L. 96 B.

hsing3, see L. 158 D. For


Appendix: The following characters have nothing in common with nor with See L. 36 E, L. 35 F, L 92 A, L. 124 A, L. 75 C, L. 3 D, L. 59 C, L. 126 E, L. 112 G, L, etc. The following is derived from and not from

Erh3. A final used as a fu l l stop, equivalent to a there now, that is done; At the end of a phrase, the voice is drawn in, and the

sent reserve of breathing is forth; It is now used

(chia-chieh for L. 35 L) as a personal pronoun, und thou, you. The modern compo is used for the

same purpose.

LESSON 19.

About the two series and

First series;

Nai3. A primitive. A difficulty of breathing; any difficulty in general; It is intended to represent the air way through the wind-pipe. A s or rather the sound th

curling to make its igh, a cry. This character,

at is written , is in style an imle, a

portant connective partic , as say the

Chinese etymologists; the conjunctions being not meaning characters, to make the hearer understand, how that which one is to with that which one has just said — Phonetic series 7. In reality,

but exclamations say, is connected

does not formn nai are arbitrary

a series. Among the derivatives ascribed to it, i Those i abbreviations of more intricate forms, e. g. for nai3, mil Those in eng and ing belong to the phonetic

k. 2 (later on ) jeng1, for which was written from immemorial

time. meant the shrieking gry of a bird surprised on its nest, a meaning anal o that of ogous t (See L. 41 D, and L. 10 A). Now and being both read nai, are used one for another, and is the graphic radical of a series that has no relation whatever with it.


To this character combined with chih3 (L. 31 B), is ascribed the compound

Ying2. Note the fusion of the from ,with the from . Success, hap py issue. To get well out of a difficulty; . It forms with the dish

(L. 157), the compound

Ying2. The abundance that comes to one when, by one's efforts, one arrived to fi ll with provisions one's vessels.

The etymologists give also as a de r iva t ive of

Yun4. To be wi th c h i l d , , This der ivat ion is a fancy one, as the co admit. In this character

mmenta to r s, n of t

is a primit ive, that represents the closing i he (L, 94 A) foetus by the womb.

Note. L. 22 C, a n d L. 23 B, have no th ing in common wi th

Second series:

Chi2. To reach, to seize, to ca tch; hand that seizes a man. Not con-

nected with . — Phonetic series 40. Note the compound

Chi2. An emotion of the heart; with that which occasionally ensues, e, zeal, impatience, hatred, etc. Note how the form of

hast old was preser-

ved in the modern character

E Note: had old forms, primitives, now obsolete, but that may be still found in compounds. Those forms are

For instance at the bottom of

Chin1. L. 14 K. Shih4. L 34 D.


LESSON 2O.

About the primitive , and its derivative that forms important compounds.

First series: Chi4 A seat, a stool; — It forms the artificial 16th radical. Phonetic series 4. Derivatives

Ch'u3, ch'u4. To stop in a place, to sojourn; a place; The p r imi t ive idea is to have found a seat, a place ofrest. In the modern character,

hu is a phonetic

redundancy. Compare

L. 32 C.

P'i 2ng . To lean up , t sit down;o (L. 82 C). To lean one's self on a stand.

By extension, moral help, proof, evidence. This character is now writ ten or L. 17 E.

Note: is written as an a rb i t rary abreviation of more intricate phonetics, e.g. chi1 for dearth, famine.

Second series. Ch'ieh3. A partial primitive. It was formerly pronounced tsu3 or chu3. It represents a small square stand, with shelves superposed; this utensil, so common in China, was primitively used at sa rifices; the — lower stroke represents the earth. See

c L.

7 G, the modern form more explicit (1 the stand, the meat placed upon it );

Now chaits meaning a d became (cbia-chieh) an important conjunction,

nged n

— Phonetic series HO. It forms the phonetic complexes

Chu4. To help; To exert one's strength (L. 53) for others. The fanciful ways of engravers are the cause why this character is often mistaken for a compound of the 109th radical. See the lead cut character here joined. — Phonetic series 264.


Ch'a Dame; 2. A proper Chia-chieh for . to examine, to search. — Phonetic series 420. See

Cha1. A proper name;

below, note.

— Phonetic 589. See below

Note. The engravers fancifully cut the two preceding characters, F and G, as here joined, which leads one to

from

series note.

mistake them for derivatives L. 143 B. — series, would, according

in etymologists, origi from thsu. Hence t he i r a n o m a l o u s p r o n u nc i a t i o n . It is an effect

About the pr imit ive

These characters, with theirto the Ch ese e Kiang-

of the dialect. See pp. 15 a n d 16

LESSON 21

nate

fan2.

Fan . Idea of general i ty , of universal i ty; 2

philologthat w

This character was differently explained by the ists. — Some, star t ing f rom an ancient form

as probably but an abbreviation, explain: ( a n old form, L 19 E) .

r

The num- be of heaven a n d earth, generalised by ; a l l i be ngs ex i s tan t . — The classical form of t he character seems to deno n a t i on :te a more, n a t u r a l ex p l a theun or ig in of beings a n d numbers (L. 1 A ), contained in a k i n d of p r i m i t i -

ar

ity, the

ve, which denotes the generalisation of a p t icular case. It is the t r u e no t ion of . — Phonetic series 19. The scribes often write. ins tead of or (L. 1

E J). See also 1

(L. 11 G ) .

Feng1. The wind; For, says the lose, when the wind blows, insects are born; G

This composition and interpretationmanner of Li-from

are in the ssu. —The ancient character was derived

sun, motion (L. 7 A) , extension, expansion. A l l this seems to me

pheric currents are producerays; which is t rue f r some windradical of a group of charetc. Phonetic series 439. See

an that the atmos- d by the action of solar

o s. — It is the 182th acters relat ing to storms,

( L. 1 f C).


Feng4. The male phoe . nix A modern character; See the old character, L. 64 I.

de of jade or ivory, scent- girdle, when full dress is

worn.

P'ei4. Small ornaments macushions, hanging from the

Anything worn by a man on the piece of l i ne

eing rolled up, makes a gi dle (L. 35 A). This chater seems to be of a relatively modern origin.

n which, b r rac-

LESSON 22.

About the p r i m i t i v e , a n d its der iva t ive

First series:

Shu2, ch'u2. The j e rky flapping of a short w ing ;

Then, in general, any rhythmical and jerky motion. The derivatives of must be carefully distinguished f rom those of L. 19, and L. 20; in the modern writing, this distin- c t ion is not easy to be made. Forms Fu2. A wild duck; the bird which flies heavily;

3To . The balancing of twigs and flowers. It is used

as a specificative of flowers, i-to hua. — Phonetic series 240. No formte the modern

Second series;

Shu2, ch'u2. The right hand making a jerky motion; to strike; . By extension,

a slick, a ferule. — It i . Phonetic series 51. Note the following derivatives Shan4

s the 79th radical

; Jerky motion of the scythe that cuts the grass ; to mow.


Ku3; h,

shy

. The upper part of the thigthe fle part

arins of old best of man's body, upon which the

mand owed the ferule bountifully.

Tien4; . The. great hall of a triwher

bunal, e flogging was given on the breech;

a realistic.but description. The modern scribes wr i t e

exact. See L. 32 A.

She4. To notify an order; o set in order, in the Asiatic way, with mant y cries

and strokes;

4I . The satellites; those who, being armed with a whip or a bamboo,

m ;prowl about every where,

l o o k i n g f o r a v i c t i

Other impor tan t derivatives wil l bo explained elsewhere, e, g. tuan4 L 164 D,

ch'ing4 L. 173, pan1 L 66 B Etc.

LESSON 23

A b o u t t h e two p r i m i t i v e s a n d

First series: Chiu3. Nine; a numerical sign, without any other signification; . — Phonetic scries 5. It forms Hsiu4. This character was made, they say, to be used as the name of the. founder of the Hou-han Dynasty, Liu-hsiu. At his birth,

a story says there were found, ne only hanging down from o stalk,

nine bea u t i fu l ears. This phenomenon was regarded as a presage of the Emperor's future elevation. Hence

This auspicious character was used to designate the bachelors hsiu-ts'ai, in imperial times. In the modern writing, was changed into (See L. 19 ). — Phouetic s 278. serie


Second series: Jou3. The h i n d legs a n d la i l of an a n i m a l ; (he track of an animal 's paws a n d rai l ; a step;

It is a p r i m i t i v e tha t has n o t h i n g in common w i t h .

or

— It is the 114th radical . F o u n d in Yu2. It represents an insect with a big lail, probably t h e sc pion. Name of the ce l ebra ted Emperor who w theas the f o u n d e r of Hsia Dynasty, 1989 B.C. Sec o u r Textes H i s t o r i q u e s , p. 38. — Phonet ic series 504.

Yu3. Monkey; Its bead, says t h e Glos L 40 C), a n d its l a i l is

e, resembles t h a t of t h e de mons ( a p rehens i l e one. Gf. [.. 49 H. —

Phonet ic series 503. Note the successive f o l l o w i n g compounds Li2. A y a k ; the

p a w s a n d the big t a i l ; is an abbrevia t ion of L. 40 C, t he bead;

changed i n t o in the modern wr i t ing , represents the boms ( Gf . L. 136). — Phonetic, serieCh ' in 2 . it is

s 628. , t h e h o r n s

etic, being replaced by the phon chin1 (L. 14 K) . Wild animals

by opposition to domesticated a n i m a l s ( b e l o w ). — Ph one t i c ser ies 728.

Fei4. A big ape. The c h a r a c t e r represents , t h e head, the. f ou r bands, and

cthe t a i l . Note the

successive abbreviat ions. A on t rac t ion of t h e las t , is considered as the c e n t r a l p a r t of t he compound hsia2.

Hsieh4. The white ant ; it forms

Ch'ieh; A swarm of termites stealing

grain in a storehouse, to eat it. To steal, to act by stealth, etc. The scribes write in differ auners this intricate character. Note that the form authorised by th

ent me is also mutilated. From (L.

24 H) there remains only a .which leads to confound with (L. 123).


Wan4. A scorpion, The claws , the head , the tail .

10000 This character is now used to write

the number (chia-chieh); see page 11.

It has nothing in common with the 140th radical, under which it was classified by K'ang-hsi. It is not derived from yu2 (above E), bu t from ch'ai4 L. 47 X. — Phonetic series 765, that must not confounded with the series of

be .

ch'a The sound of the compounds is de-

rived from i4, and not f rom wan4; e.g. mai4. Note

Li4. A scorpion

crouched down under a stone (L. 59 A). Pricking, sharp, bad, cruel, and other chuan-chu. — Phonetic series 804,

Shou4. The domesticated animals, by opposition to ch'in3 wild (above E);

On the top two ears, in the middle the head, at the bottom the paws an d tail . The second a n c i e n t ch a r ac t e m w h i c h ca m e the modern one, is an abbreviat ion. I s the

compound

r f r ot form

shou4, f locks or h e rds guarded by dogs. B u t t'o2, c rocod i l e , has ano the r o r ig in . See L. 72 E.

LESSON 24

About the p r i m i t i v e a n d its m u l t i p l e s

First series: Shih2.Ten

The number that contains all the other simple numbers (decimal numeration). Symbol of extent (two dimensions) and of the five cardinal points (East, West, South, North, Centre). — It is the "24th radical . Phonetic series 10. Note the derivatives

Ghi4. To k n o w how to calculate; To k n o w how to enounce the ten

numbers of the decimal system. By extension, to reckon, to plan, a scheme.


Shih4. An affair, a thing;

Because, says the Glose, ni l things are comprised between the two terms of numeration, and .

arniBy extension, a sage,

a man pointed out, by his le ng, to become an official ( n o w .). — It is the 33th radical. It forms

Chi2. Speach of a sage, b r i n g i n g l u c k ; good, a pic ious , happy

us;

Compare hsiung1, inauspicious, L. 38 D. — Phone t i c ser ies 180. See L. 38 G. Compare

L. 165 B, L. 75 B. e t c . Note Chieh2. A phonetic complex . To keep one's head straight;

i

d ;

s phonetic. — Phon.ser. 797. Ch'ien1. A

thousan Ten limes one hundred. The hundred is not represented in the character. The on the top, an abbrevia- t ion of (L. 28), is phonetic says the Glose. is

perhaps an old primitive. — Phonetic series 16. Forms Nien2. The crop, the harvest ;

The thousand grains. By extension, a

year, the. t ime required for a harvest. The modem character is an incongnious contraction. Chang1. A lenght of ten spans, now of ten feet;

A band and ten See L. 43 L. — P h o n e t i c series 13.

K u 2 . O l d ; That which passed through ten

ons.mouths, i.e. a tradition dating back ten generati — hsieh composed of the same elements means

u n a n i m i t y , ten mouths speaking in unison; — Phonetic series 132. It forms

Ku*. Hermetically closed on a l l sides (L. 74).

— Phonetic series 368. fetlock of an o x ;Hu2. The

It is now used a? an interrogative

particle, chia-chieh for — Phonetic scries 450. Note: ti2 is not derived from . See L. 120 H.


Chih2. Straight; When tun eyes have seen to it, the line must be straight. See L. 10 K, where this character was f u l l y explained. — Phonetic series 335.

Note: K'ang-hsi i nco r r ec t l y classified u n d e r L 46 M, L 18 D, etc.

Second series: repeated twice ,

Nien4. Erh4 shih2. Twenty;The tens a dde d O U R to another. In composition, it O f t e n m e a n s a m u l t i t u d e (L. 10 I ) . It is l i a b l e to he c o n f o u n d e d w i t h kan1 (L. 73 B) . It forms

Kung 4 . An a c t i o n d o n e in c om m o n , a l l t a k i n g p a r t in i t , represented by t w e n t y pairs ot ha nd s ;

See L — P hone t i 225.

K u a n g 1 . L igh t , lus ter

47 Q c series

. P r i m i t i v e l y twenty tires (L 126). The

m o d e r n f o r m represent s , a man w i t h fire (L 2 9 ) : p r o b a b l y a man c a r r y in g a torch The anc ien t fo rm was m a i n t a i n e d in a few compounds (be low L) — Phone t i c series 222 It fo rms

Huang 3 . Brightness of t h e sun , to dazzle:

— Ph53

Huang2. Yellow, the

onetic series 7.

hue of t h e p loughed e a r t h (L. 119);

Note h o w a n d are mixed up . See t he

de r iva t ives , !,. 17 1 . — It is t he 201th ra d i ca l Phone t ic series 688.


Shu4. All the inhabitants of a dwelling, gathered around the hearth (L. 126); among the ancients, the hearth gave light and heat;

Meanings chuan-chu the familial flock, concubines and children;

the h u m a n herd, the people. Various chia-chieh. — Phonetic series 615. — Note the following logical aggregates, in which was replaced by the. radical.

Tu4. To measure, a rule, a degree;

A hand which counts or measures a quant i ty . — Phonetic series 484.

Hsi3. A mat, a meal; because, in the olden times, peopleused to eat, while sitting on mats, the dishes being placed oil

a mat.

See a napkin, L 35 A.

Third series: repeated three limes;

San1-shih2 Thirty; It forms

Shih4. A period of thirty years; duration of a man's active life; an age, a generation;

The vertical stroke of on the left side is lenghtened, to denote the

prolongation and duration of life. — Phonetic series 157. It forms

Yeh4. The successions of e leaves upon th trees; a leaf

(now );plate of metal or

by extension, a th in

gold;

— Phonetic series 494. Compare L. 104 A.


Fourth series: repeated four times,

Ssu4-shih2 Forty; Twice wenty. Some etymologists think thist to be the top part of the following character

Tai4. A girdle, to take along as if worn at the girdle, to wear; This derivation is an arbitrcalligr etymological.

ary one, aphic, not is a primitive, while

— means the girdle, and the er part represents the trinkets

oth (L. 21 D) hanging from thegirdle;

At the bottom, the robes are represented by two (L. 35), one above the other; — Pho- c series 648.

WU2. See L. 10 1, where this character was fully explained. A luxuriant

neti

forest destroyed by a great number of men. It is now an adverb of negation; no none, no more. — Phonetic series 718.

LESSON 25.

Note: The p r i m i t i v e

,

jen2, a man, being wri t ten in d i f fe ren t manners; several lessons are devoted to it. Here is a list of them.

jen2 slanding, or put on the side. L. 25 jen2 inverted.

Mult ip les o

L. 26

f a n d , L. 27 jen2 on the top of the mpounds, curtai led. L. 28 jen2 at the bottom of t mpounds. L. 29 jen2 bent down. L.jen2 sitting down. Ljen2 overturned. L.jen2 doubled up. L.

cohe co

30 A . 32

30 D 54

jen2 moving on. L. 31 jen2 with arms. LL. 60, 61

Etymological Lessons. 25 73

About the pr imi t ive under its two forms, and Jen2. A man . represented by his legs; t he one. who stands upright . Compare (L. 60);

— It is the 9th r ad i ca l of characters relat ing to man. It forms

Ch'iu2. A prisoner, to emprison ; A man in an enclosure, L. 74. See

L. 157 C.

Shan3. A man in a door (L. 129 C) , moving sideways to give way to others; by extension, a sudden a nd quick motion in general.

Shu4. To guard the frontiers; a man with a spear ( L. 71 F); See the. compound (L. 90 D).

m a n an d Fu2. From dog (L. 134). A man imitat ing the dog, or making others imitate it. To crouch, to f a l l or l ie prostrate, to hide, to hu m ble , o subject , etc. — Phonet ic series 196.

Wei4. The place where a

t

m a n is s t and ing erect; the place assigned, according is d igni ty , to each official;

to h

By extension, seat, rank, person. See (L. 60 H).

Jen2. The virtue that must unite men to men; See L. 2 B, where this

Hsin4. True words, and, by extension, the effect produced by these words upon others, truthfulness, faith, confidence;

character was explained.

A man and a word. In the

old form, a man and a mouth. In still more ancient form, a word and a heart; words coming from the heart and appealing to it.


Hsien1.

The taoist Genii;

According to the legends, they live OD the mountains, hence the modern character , man and mountain. The etymological meaning is a man who rose,

by the taoist practices, above mortals. (See L. 50 P, L. 10 L).

LESSON 26.

About the

inverted which is now written (Compare with the old forms, L. 25 A and 26 B).

Preliminary note: The modern . corresponds to two old primitives. — 1. representsanold instrument, a kind of scraper, of spoon. This character became soon obsolet that remained after it e. In the derivatives (

etc.) it was written even before the reform of Li-ssu. This explains how, in the series , one may f ind several characters tha t mean utensils (below C, D, M). — 2. i

nverted, over-turned. Hence, the significations derived from the origin of this character; to turn round, to invert, to compare, to join, to match, to pair (right side and reverse).

Pi3. To tu rn one's self round, etc. — It is t h e 21 th rad ica l .

First series: Compounds in which means an object.

Shih2. A spoon, a key. (Phon. L. 112 I).

Ch'ang4. A special liquor, used in the sacrifices, to induce the shen2 to come down;

A vase (L. 38 E) fu l l of grain

which, when fermented, produced the l iquor; bottom,

at the the spoon with which people drew up the

l iquor from the vessel. Compare below M. — It is the 192th radical. It forms

Yu4. Oblation of the liquor . See L. 130 E.


Tsan1. A forked brooch used to fix the hair. Now The character represents a man , with a

brooch on the top. Note the alteration of the

modern character and try do distinguish it from wu2 L. 61 C, and from chi4 L. 99 E. Repeated twice, tsan1 is phonetic in hsun2, a caldron (L. 155), and in

Tsan1. To murmur; See L. 73 A. Not to be confounded, either with t'i (L. 60 L) as many scribes do, or with L. 79 B. — Phonetic series 709. Note

Tsan2. I, we. This modern character is an arbitrary abbreviation of . It is used, regardless of the sense, to write the so an2, a personal pronoun used by common peopl e provinces of the North. Its

derivatives

und tse in th

and , much used in the books written in spoken l ge, have no more v a l u e t h an angua itself.

must be d i s t inguished from chiu1, L. 31 B

Second series: Compounds in which means man, etc.

Pao3. A tithing of ten men. It forms some phonetic compounds, eg pao3, a bustard, etc.

Ni2. Near, in contact; Morally, intimity. Etymology, But

wo m(L . 32)

means also, a man. Therefore ni means, t en near one another. Phonetic series HO.

Nang2. A high s of

dignity, towards which rise the eyes and desire men; exalted, to desire;

— Phonetic series 73. Compare yin4, L. 49 I.

Ssu3. Dead, to die; A man,

tedead (L. 118 C). Note t. tn the

modern charac r, the top stroke of is prolonged and covers . 2. In the ancient form, instead of , the inverted form, there is. the straight form.


P'in3. Etymologically, the row thai makes the pair with the bull. Now mu3 means the male, and p'in3 the female of a l l kinds of animals. Note the alogous compound an yu1. hind, female of the

lu4, stag.

Keng3. Etymologically to turn the head. Then, to turn over, to overthrow, in ge ;neral

There are also a few unusual phonetic s; for these, see complexe tsu3, L. 112; and

pi3, L. 27 I.

Third series: A special series is ascribed to the fo l lowing compounds of on account both of the s ingular forms which were given to them in the modern writing, and of the importance of thei r derivatives. In t he old writing, those characters were perfectly regular.

Yao3. To t u r n one's back to the sun; obscure, hidden. It forms yao3, dark as in a cavern; yao3, the South-East angle, t h e most retir in a ed place house; etc. lu its modern form, the next seems mpound of the same e l e m e n t s ; it is not so.

Chih3. The old to rm is composed of

to be a co

, the tongue (L. 102 C ), a n d of , a sweet t h ing (L. 1. 40); good, agreeable to the taste; After Li-ssu. the character was composed of kan1

sweet (L. 73 B), and of phonetic ; who is supposed

ic series 186. It forms Chuan-chu, an edict of the Emperor to speak iu soft words. — Phonet

ch'ang2 (L. 36 E), ch'i2 (L. 30 E), chi1 (L. 121 M ) .

Ken4. To turn suddenly round , in order to look a mathe face, haughtily; anger, defiance. — It is the

al. Phonetic series 219 and 741.

n fu l l in 138th

radicNote. Hang- has another origin. See L. 75 F. Hem t'ui4. See L. 31 C.


Hsiang1 Boiled grain, the Chinese soup fan4- It is composed as (L. 26 C). A vase (pr imi t ive) ; — its contents (L. 1.4°); the spoon to draw up (L. 26 A).

cted form must be distinguished fromIts contra hang ( L . 75 F). It forms the following characters:

Hsiang1. The gties, r

rain producing country, between the walled ci epresented by two one of them being straight, the other being inverted and abbreviated in the m n wri t ing ( L. 74 C). oder

— Phonetic serins 682.

Ch ' ing2 . Ministers. Those who

were present at the imperial meals, standing in two opposite rows,

the sceptres, badges of their dignity; holding See L. 55 A.

Chi2. The c o n v e n i e n t measure (L. 55 B) of soup; temperance, modera t ion ; now . — is w i d e l y used chia-chieh as a c o n j u n c t i o n exp ng t h e logical consequence. — Phonetic s 424. It forms the phonetic complex.

Chieh2. A segment of the bamboo, between two nodes. Chuan-chu, an article, a limit of time, a term. Chia-chieh for

chi2, temperance, moderation. — Phonetic series 798.

Chi4. To suck up, to swallow; (L. 99 E). Chuan-chu, already passed, as

Chi2

ressiserie

swallowed soup; finished.already, since; _ Phonetic series 596.


Shih2. ssu4. Food, to eat, to feed: , See L 14, union, together; grain, food.

ays the Glose. it is by mixing the. different s of grain that the human food is prepared;

Because, s(s ix) kind

Note the top stroke of , a contraction of , is confounded with the lower stroke of . — It is the 184th radical of characters relating to food. It forms

Shih2. To nourish; to give food to a roan;

It forms the phonetic complexes shih4, to adorn, and

ch'ih4, an order, injunction. See L. 28.

Ts'ang4. A granary, government storehouse. In this character, is mutilated, to

make room beneath t o r (L. 7 4 ) : — Phonetic series 575.

Chin4 is not derived from . The modern forms are corrupt. Compare the ancient forms with L. 1 1 7 B. The rearing of ca t t le , under trees, in the steppe. Hence

now chin4, a stud, a stable.

O N. B. — Let us recall — \. That is the classical abbreviation of ken3 (26 L), h u t that it is also used for other compounds. — 2. That is the classical abbreviation of hsiang1 (26 M). By the principle of t st effort, the scribes often write

he lea instead of . — 3. That these abbreviations are to be

distinguished from erivati f the d ves o liang2 (75 F); a thing easier to say than to do. — 4. That the engravers, fo the scribes, cut in fanciful ways, several characters of this series, as one may hav ed. — See also

llowinge notic , L. 31 C.


LESSON 27.

About the multiples of .

First series: repeated twice (the straight form, L. 25).

Ts'ung2. A man walking after another; to follow, to

obey. It is the opposite

of , L. 27 C.

Ghuan-chu, a preposition, as the Latin ab, ex; it is in this sense that is so often used in this work, for the analysis of characters. It is now practically superseded by the. next homophone and synonym c o m p o u n d

Ts'ung2. Note the curious form of the modern character. It is

composed of , and of (Rad. 162; L. 112 E) dislocated; the three placed on the left side simulate ,

ullythe 60th radical, under which

K'ang-hsi wrongf classified and its similes ; the lower part is placed under .

juxt ID the ancient

character, there is simply A aposition of the e lements .— Phonetic series 657.

Ch'ien1. To cut . Two men a nd a halberd; See, L. 71. Compare L.

25 D, and L. 47 E. — It fo1. The wild garlic

rms

Ch'ien ; See L.

!70 B.

Ch'ien


By extension, together. 1. Reunion, meeting. (L. 14), A meeting

of speak. — Phonetic series 726. men, who several

Second series: Two turned face to face.

Tso4. To sit down, to be seated; Two men sitting on the

ground, in the old fashion, and facing each other to talk. — Phonetic series 309.


Wu1. The work (L. 82) of witches; magic, incantations. Two witches who dance to obtain rain

It forms

Shih1. The stalks of Achillea Sibirica , tha t were

used by the wizards to divine. It forms

the phonetic complexes shih4, to bite, to gnaw; shin4, bank, quay. See Ling2, L 72 K. Distinguish from

L, 16 M, and from contracted in L. 13 C, etc,

Chia1. A man (L. 60) who clasps two others in his arms: to press, to squeeze, to pick i x up, to f ;

— Phonetic series 257. To be distinguished from shan3 (L. 13 B), and from lai2 (L. 13 C). It forms the, phone t i c complex

Ch'ieh4. Box, casket, (L. 10. B), It is now wr i t t en

Third series: Two t u r n e d one against another .

Pei3. The opposite of ( one's

L. 27 A). Not to follow each other, to t u r n back, disagreement;

Derived meaning, the back ; a n d , by

extension, the North t t u rns one's hac

South, according to custoite

he cardinal point towards wh ich one k when s i t t i ng down facing the m. — The modern scribes wr for different more intricate characters. See kuai , L 103 C 1 ; ch'eng2, L 31 E, etc.

Ch'iu1. A hill, a mound; The Glose is summed up thus: — represents a height. On the topthe top of , two men turned

one against another, instead of four men whom it would have been too difficult to depict. The meaning is that, from the top one may see towards the four


directions i. e. towards a l l directions; a culminat ing point. — Phonetic series 113. — Note that ping1 (L. 47 D) is unconnected will) I tem, the k i n d of primitive (L. 80 B)... But forms

Hsu1. A high upland; These uplands being generally wild and barren, hence

chuan-chu, empty, that which contains nothing; — Phonetic series

685, under its modern corrupt form.

Fourth series: repeated twice ( , inverted form, L. 26). Pi4. It is inverted (27 A), To effect a union, to follow, to cooperate, to plot. PP. Meanings derived from the invers ion (See L. 26 A, 2»), to draw a parallel between, to compare, r ank .— It is the 81th radical. Phonetic series 77. It forms

Pi3. A synonym of the preceding. The two men are placed upon (L 81 ) the earth. — Phonetic series 299.

Chieh1. Together, all; Severa l men (L 169 A c o n t r a c t e d ) ac t ing in concert, — Phon scries 428. K 'ang-hs i e r roneous ly classif ied this c cter u n d e r t h e radical 10

et ichara 6

K ' u n 1 A n u m b e r or men u n d e r the sun (L. 143); m u l t i t u d e , generali ty ;

Chuan-chu of different kinds; he s

, a posterity, those who will succeed in life, under t un;

supposed tothe multitude of insects that the sun is bring forth... Chia-chieh , an elder brother; compare ko1, p. 11. — Phonetic series 371.

P'i2. The navel which is supposed to be in communication with the head (L. 40 A) through channels in which circulate the- vital spirits.

So the lower part would not be , but a kind of primitive, representing the cha s. Instead ofnnel , the scribes write

hence the erroneous character here joined. — Phone- tic series 567.


Note 1 : is intended to delineate the feet in some characters that represent animals, e. g.

Ch'ao4, jerboa, L. 106 C. Lu4, antelope. L. 136 A.

Note 2:Two , one above the other, represent also the feet in the following series Neng2, formerly Nai4, which explains the sound of some derivatives. The great brown bear. After Li-ssu, this character was explained thus: two paws, the body, the growling of the angry bear. (L. 85 E). But the st f the old forms reveals a special primitive delineati head, a hairy body standing, and claws. (L. 146 H e bear is the symbol of bravery; hence the mean uan-chu, valour, an officer

udy ong a). Th

ings ch ; — Phonetic series 55*. It forms

T'ai . Martial attitude.4 — The outward of the interior valour. Hsiung2. The sma l l black bear; represents the feet (L. 126 C), a graphic redundancy. Pa4. A bear, f igura t ive ly an officer taken in a net (L. 39 C). to dismiss, to resign, to cease, and other cbuan-chu. The Glose explains that the. net

means calumnious accusations. Compare L. 39 F.

Fifth series: repealed thrice. Chung4. Gathering, meeting. Tres collegium

faciunt; The next compound, a synonym and homophone, is now used instead.

Chung4. A crowd; Note that is not (as above, in ), but the eye (L. 158) depicted horizontally. The visual space f u l l of men; all the m e n taken in at a glance; crowd, a etc. The scribes fancifully and str ly altered this character, as one may see by the two specimens here joined.

Ghu4. To meet;

ll, ange

a reunion of men; See L. 146 F. — Phonetic

series 775.


LESSON 28.

About some peculiar forms of .ar t i

cur tai led in the modern writing, either through want of space, or through a p al fusion wi th a phonetic; is reduced to ,

, etc. In the ancient writing. has its normal form.

Chi2 attain, to seize upon. A. To hand tha t seizes a man This character was explained, L. 19 D. — phonetic series 40.

Hsien4 . A trap, a p i t ; A m a n who fa l l s in to a

p i t ( L 139). Cf. L. 38 D. — Phonelic series 360.

Fu4 1. Moral ly, a m a n who has cowries, money (L. 161); the pride caused rtune,; insubor- dination, disdain

by fo; — 2.

Physical ly, a m a n who bears a load on his back, in order to gain cowries; to to i l hard, to suffer;

She4.

P r i m i t i v e sense, the f lush of the face;

The composi t ion of t h i s cha rar t e r is typical; a man, a n d (L. 55) a seal; because, says the Glose, the col of t h e face corresponds w i th the feelings of the hea r t , as t he s t a m p reproduces the seal. By extension, the flush arising f rom passion, sexual pleasure, colour in general — It is t h e 139th radical.

Wei2. A m a n

our

l o o k i n g from up a steep cliff (L. 59); a peri lous si tuat ion, danger;

There are i m p o r t a n t compounds, a b o u t wh ic h see L. 59 H.

Ch'ien1. One thousand This a n o m a l o u s character was e x p l a i n e d L. 24 D. on t h e lop is p ho n e t i c ; is for ten times one hundred , says the Glose.— Phonetic series 16.

T'ing2. Upright, raised, attentive; A man on the

ground (L. 81). Not to be confounded with jen4

(L. 82 C). In the modern writing, the two characters are almost identical.


Tiao4. Actual meaning, to mourn for one dead, in order to console his family. Composition: a man who carries a bow

tim(L. 87) over his shoulders. The

Chinese of olden es did not bury their dead. The corpse was packed up in a bundle of grass (L. 78 G), and lef t to rot away in some remote place. The rite of

condoling, at that time, consisted in offering one's self with a bow, to protect the corpse against wild beasts. The

hanging across the shoulder, which is represented by the old character.

Chiu1. Primitive sense, egotism hurting one's neighbour; a man

meaning, to hang up, to suspend, comes from the fact that the bow was carried

who does not look for his own (L. 31 B) benefit;

By extension, offence, fault, mistake; — Phonetic series 338.

Shen1. Body, person. It is with a big belly and a leg. See L. 148. — Ii is the 158th radical of characters relating to the shapes of the body.

Note: The head ( s h a r p s n o u t ) of some a n i m a l figures, is l ike in the ancient writing. The resemblance is merely a graphical one. For instance:

T'u2, hare , L 106 B. Yu 2, fish, L. 142 A.

LESSON 29.

About , the form taken by , when placed at the bottom of the characters.

Jen2. A m a n ( t w o legs) . It sometimes means, feet, support — It is the 10th radical.

Erh2. An infan t : A body and a

head (L. 40 C) opened in the form of , represent ing a sku l l , the fontanels of which are not yet

closed. — Phonetic series 352.


Mao4. The face; From man and

of tmpound

( L. 88), white, colour or form of the face. Instead his, the synonym and homophone co is now used.

Huang4; A mouth on the top of a man; to speak strongly, emphatically, a horitatively. Note the two modern chuan-chu, with change of sounds

1. K'uang4. An emphatic conjunction, so much the more, a fortiori. The scribes write

ut

, but their writing is rejected by the critics,

2. Hsiung1. The eldest among several brothers; the one who must exhort and correct his brothers.— Phonetic, series 123. Note also the compounds

Chu4 An oration that goes with the oblation of a sacrifice, and that touches the shen;

Chou4 A modern character. The added is a redundancy. Adjuration, impre ncatio ;

ittenThis character is often erroneously wr

Yueh4 Good words t ha t dispel gr ief a n d rejoice, the hearer ; hence the. two meanings, to speak, to rejoice. It is added wi th a ( L. 18), that means, dissipa- tion ;

It is unconnec ted w i t h (h to mcial

L. 18 E. ). It is used as a modern a r b i t r a r y chia-chie ean, exchange, d e l i v e r y in the commer transactions; it is then p ronounced tui4; — Phonetic series 313.

Yun3. To consent, to grant. A man who says yes; make out

85 E. — mplex

Tsun1. To walk solemnly

Toone's assent, by breathing forth a yes. See L. Phonetic series 100. Note the phonetic co

;



Ch'ung1. To nourish a child, from its birth till, knowing how to walk, it has become a man;

To feed, to fill, f u l l , etc. Chuan-chu and chia-chieh of different kinds. — Phonetic series 189.

Yeh4 The head: A head (L. 160) upon a body

Note t h e con t rac t ion of in the modern character. — It is t h e 181th radical of a g r o u p of characters r e l a t i ng to t h e head, neck, etc..

Yuan2. That which is on the top, upon man. Head, principle, origin; as caput in la t in ;

See , an ancient form of

, L. 2 G. — Phonet ic series 97. Note t h e compounds Kuan1. The man's cap, then

caps and hats in genera l ;

(L 45 B) s t a n d s f o r The m e a n i n g is,

w h a t is placed on t h e head, to cover i t .

Wan2. En t i r e , f in ished , done; The p u t t i n g up of the roof completes a bu i ld ing .

— Phonetic, series 314 It forms

K'ou4 Robbers, to loot. The m a n who armed w i t h a stick { L. 43 D ) threatens the dwel-

ling-places;

Kuang . Light. The o ld fo rm of this character was e x p l a i n e d L. 24 J. This is t he modem form,

1

probably, a m a n carrying a torch. — Phonetic series 222.

Jung3. I nac t i on , to remain inac t ive ; A man in his

bouse, because he has no work to do in the lields. ot to be confounded w i t hN yin3, composed of

and (L. 34 E).


Wu4. A stool. A plane surface upon a support;

— Phonetic scries 36.

LESSON :30.

About ( who bends forward ), and ( inverted, the feed beingturned up).

First series: Jen2. A man who leans, who bends up;

It f o r m s

Ch'en2. A woman who bends

f o r w a r d to conceal her shame, says the Glose; p robably h e r menses (not her pregnancy L. 112 L). Hence chuan-chu time, epoch, period. — It is the 161th rad i c a l . — Phonetic series 254.—The p r i m i t i v e ineaning; h a s been preserved in t h e compound Ju4. To shame, to i n s u l t ; To reveal ( l o r , L. 43 A ) a shameful situation or th ing . — Phonetic series 541.

Ho u 4 . A p r ince ( b y extension , a pr incess) .

The m a n who notifies bis orders, b e n d i n g

towards t h e people. This composition i logous to that ot

s ana chun2, a prince, See page 9. — P h o n e t i c

series — 109. inverted, forms

Ssu4. The government, the administration, that is like the reverse of the prince; — Phonetic series 159.

Second series: Hua4. A man tumbled head over heels;

The primitive sense was, to die; Derived meanings, to overthrow, to

transform; It forms


Hua4. To change, to convert men by teaching them; — Phonetic series 64. It forms hua1, flowers, the term of the

evolution of plants. See L. 13 F.

Chen1. Transformation by the Taoist practices. See, L. 10 L.

Lao3. Old, venerable, a septuagenarian. A man whose hair and beard (L. 100) change , grow white;

Note the strange modern contraction of and of . - It is the 125th radical. This character forms i m p o r t a n t compounds, in which was suppressed to give room to t h e radical or to the phonetic. For ins tance:

Ch'i2. Sexagenarian; old man who needs a better food. See L. 26 K. — P h o ne t i c series 513.

K'ao3. Old age; represents the as thma of old men L. 1, 1). By extension, to examine, to interrogate

pu p i l s a n d candidates , which are a t t r ibutes of worthies. — Phonet ic .series 218.

Hsiao4. Fi l ia l piety; the t h ing which th

(

e ch i ld ren owe to the a

particulaged persons in general, and to

t he i r parents in r; — Phonet ic series 276. But

chiao1, to leach, has n o t h i n g in common w i th This character, whose exact form is g iven here, w i l l be e x p l a i n e d L. 39 H.

Che3. This character is not derived from . See L. 159 B.

LESSON 31.

About three derivatives of , partial primitives, viz.: chiu3, chin3, su1.

First series: Chiu3. A man h indered w h i l e w a l k i n g , by a k i n d of t r a i n ;

Hence the notion of slowness, of duration — Phonetic series 17.


Second series:

Chih3. To fol low, to pursue a man who walks;

— It is the 34th radical, ordinar i ly placed on the top of compounds. It forms

Ko3. To go on one's way. w i thou t hearing the advice of others;

Separated, distinct, particular, other. The indiv idua l described by his self-love, his own way.— Phonetic series 220. It forms

Chiu1. A man attached to his own opinion, who cares only for his own interes nd who consequently offends against othe By extension, offence, faul t ;

ts, ars.

See L. 28 I. character. — Phonetic series 338.

Lu4. Way, road

Note the contraction of the modern

; ; through which each one trespasses. — Phonetic series 748.

K'o4. Ch'ieh . A guest, a traveller; 4 ; to stay for a time in a house not one's own. Liao4. B o u n d a r y t h a t d iv id e s t he fields. Chuan- chu, to p a r t i t i o n , to sh or t en , a l i etc It forms t t le ,

liao4, to l a y d o w n , to d ep o se Lao4. O l d m e a n i n g : a t r e n c h to i r r i g a t e ; water used by eve rybody . It forms lao4, the fa l l of the leaves, to sink.

See hai4, L. 97 H ; feng1 L 97 A: and tung1 L. 17 F. The 34th radical chih3 (three strokes) must be carefully distinguished from

the 66th radical p'u1 (four strokes), and from the. 36th radieal hsi4.

Third series:Sui1. A man who goes on, despite of shackles;

To be distin- bove. — It

is the 35th radical, ordinarily placed at the bottom of the compounds. It forms

guished from analogous forms, as stated a


Chih4 To reach or make others reach the a i m , despile of d i f f i c u l t i e s ; See L. 133 B. T'ui4. To have walked with difficulty all the day

long, and consequently, to refuse to advance re, or to go backwards, on account of the difficul- s of the road. To refuse, to retreat

motie .

The added is a radical redundancy (L. 112.E). Note the contraction of the

modern character, and read again the note L. 26 0.— Phonetic series 578.

See L. 29 E; L. 79 K; L. 38 D; etc.

inverted, forms K'ua4 To overcome an obstacle represented by ;

The modern character kept the old form. Phonet ic in ko1, a pot.

straight and inverted, forms C h ' u a n 3 . I t . is composed of , t h e s t r a i g h t a n d the inverted form, ba rk to h ack ;

To po in contrary d i r ec t i o n s : opposition, contra- t i o n , offence, e r r o r ; d i c

dical. In thCompare L. 27 G.

— It is t h e 136th ra e compounds,

es, oppos

represents two men hack to hack Note the following Wu3. A dance wi th gestur performed by twogroups ing

each other (See L. 65 D); the dancers hack to hack, a phonetic contracted (L. 10 I) ;

Chieh2. Primitive sense : were tree, on which c r iminals

hung , now

hack to hack; the gallows of old. This character means a roost, for f o w l s to rest

o n ; — P ho ne t i c series 518. It f o l l o w i n g , ch'eng2. A warriors' rt of roost for men

standing back to wo ranks; the top repr oof. The modern form does credit to the ous scribes. — Phonetic series 512 See also

forms theSheng4

car, a soback, on tesents a r ingeni

, and L. 126 D;etc.


Chiang4. From ,the

the straight and the inverted form one above other;

to the othwritten

Two men, one of them (the inferior) is subject er (the superior). This character is now .

to thbmi

182.

and the pronunciation is different according e two different meanings. Hsiang4, to subject, to su t ( t he inferior.}. Chiang4, to descend, to send down, to degrade, to grant (the superior). — Phonetic series — contracted is phonetic in lung2, L. 79 F; being reduced to

Another form of straight and inverted, one above t h e other. It is f o u n d o n l y in the compound

Wei2. R e f r ac to r y oppos i t ion : two men who p u l l at the same object in c o n t r a r y directions;

(w r i t t e n

L . 74). This character is now — P h o n e t i c series 487. See

L. 23 F.

LESSON 32.

About a peculiar form of , shih1, analogous to. , which was explained L 30A. Shih1. A seated m a n . The l i v in g person who anciently represented the dead; by extension, a dead person. The Glose says: The sons, not seeing the de-

ceased ancestor whom they worshipped, inven ted the,

to impersonate h i m ;

It is the 44th radical of characters relat ing to parts a n d positions of

bodies. It forms

Shih1. Corpse; a man, dead (L. 26 H) .

Ni2. Two men near each other (L. 26 F).

T'un2. The lower part of

the body; the part seated (L. 20 A); represents this part;

Hence ti

of en4, the flogging on the buttocks (L 22 D).

Instead , the scribes write , which makes one more false character.


I2. It is composed as (L .2 B), the feeling that must bind man to man ( two, men). Is phonetic in

Wei4. To smooth cloth, the hand holding a hot iron. By extension, to make even, to sweeten;

It forms wei4, to soothe, to console, to i ron

the wrinkles of the heart. Note how the scribes changed into , and into


Chu1. A place, a spot , an abode. Etymologica l ly , a man who f o u n d a seat. Its composi t ion is - gous to t h a t of

analo. above A ;

This c h a r a c t e r was a r b i t r a r i ly changed by the scribes in to Compare L. 20 B — Phonet ic seri 5.

I3. Wei3. Tail. The

es 34

h a i r at the end ot the body. Contracted into and sometimes into forms impor tan t com ds (See L. 100 B). Thwen te l l s us t h a t t he ol d Chinese put on a falin order to be as b e a u t i f u l as a n i m a l s ;

poun e Shuo- se ta i l ,

Sui1. Niao4. Ur ine , water coming f r o m uudei the tail, for is contracted.

Shih3. Excr n e residue oeme t; th f grain similarly ejected ; is

supecontracted. This character is a mo-

dern one and rseded the old .See L. 122 C.

Ch'ih3. The span of a man, of a male adult's hand. This s p a n was, u n d e r t h e Dynasty , t h e u n i t y of length and measured about twenty centimeters. The

grew longer, after that t ime, up to thirty centime- . The Europeans ca l l it a foot. In China it is a ters

hand; The of th

(L. 9 A ) , says the Glose, represents the opening e hand, f rom the thumb to the little finger. See (L. 45 B). It forms


Chu2. To fit up, workshop where things are fitted up. This end is obtained by using both mouth and

hands (span, used for the hand); — Phonetic

s

Wu1. Abode, lodgings. Place where a man

eries 266.

being arrived (L. 133 B) , takes rest.

Compare Shih4

(L. 133 B), which is a synonym. — Phonetic series 490. It is contracted i n to in several characters; for instance

Lou4. The rain passing through the roof of a house ; to leak:

See L. 125 B.

LESSON 33.

About the two primitives, a n d

First series:

Ch'i1 . Seven. A numerical sign, wi thout any other signification: It is radical in

ch'en3, second teething, about the age of seven years. It is phonetic in ch'ih4, to cry out at, to d ; a n d in

Ch'ieh1. To cut;

scol

k

nife, L. 52. - Phonetic series 43.

Second series:T'o1. A partial primitive. It represents a small plant s ink ing its root into the. ground. The ground —, the root beneath, the stalk and a small ear above;

— Phonetic series 29. It forms Chai2. Habitation, abode;

The place where a man takes root, fixes his dwelling, — Phonetic series 177.


LESSON 34

In this number we distinguish the series of two primitives. and , wantonly mingled together by the scribes, and mixed up by K'ang-hsi.

First series:

Chiung3. The. suburbs, the country, the space. The t w o vert ical strokes del ineate the limits; the horizontal s t ro ke represents the interval between t h e m , the void space ;

— It is the

13 t h radical. Note the der ivat ives

Chiung3. A synonym of the preceding. The representat ion is more exp l i c i t ;

t he ct ive

( L. 74 del ineat ing the wa l l ed town in the middle of oun t r y . — Phonet ic ser ies 1 1 4 . The der iva s of are to be distinguished from those of (L. 76 G). e. g. chiung3, to go in remote places; hui2. to return. Distinguish also chiung3 from hsiang4 and shang4 ( L. 36 E); from o4 (L. 15 C); from chiung3 (L. 42 B)

e in erN i4. The ter ior ; to ent in a void space, c te r was exp la i ned L. 15 C.

here joined,in t h e i n te r i o r . This charaNote how in the old form is already mis taken for (34 H), whie x p l a n

le the Glose gives the true a t i o n . - Phonetic series 74.

Shih4. A market The grass-grown space out of the c i ty , where people go and get (L. 19 El what they are in need of;

(L. 79 B) This character has nothing in common with (L. 35), under which it was erroneously classified b ng- hsi. It must be carefully distinguished . from

y K'a fu4

(35 B), and from fei4 (L. 79 G ). There are a few nsignificant compounds. Note the logical aggregate i

nao4, to bustle; (L. 11 I) to quarrel as in the market place ; the noisy wrangling and confusion of a market, so dear to the Chinese.

Yin2. To go away, to withdraw. A man who walks in order to go out of a space;

— Phonetic series 94. Not to be confounded with jung3, L. 29 J.


Hao4. To rise up, high. A bird that rises up in the space; When this character is ieve t is topped by a

not well engraved, one might beli ( L. 36); in reality it is the of the. left side of , that crosses , just as crosses

in the preceding. — Phonetic series 531.

Ming2 Obscurity, darkness; The six Chinese hours (half a

day) during which the space is in darkness, the sun

being absent. — Phonetic series 553.

Note. One. may see how, in the modern forms

, and are absolutely mixed together.

Second series:

Mi2. To cover. A l ine tha t fal ls at both ends, to cover; — It is the 14tlh radical

of a to cover. Note the f o l l o w i n g de r iva t i ves

Mi*. A t r i v e t

few characters meaning,

co vered (L. 127 D)

Kuan1. To cover the head ; a cap. See L. 29 H.

Yuan1 Ill-use without motive, wrong, grievance. Etymologically a rabbit (L. 106 B), trapped

It foa few insignificant phonetic complexes. This character is sometimes wrongly writte

rms

n

is met, with the meaning of physical cover, of moral blindness, in many characters, e.g. L. 126 F; L. 154 B; L. 72 D; L. 39 1. But the following are derived from (L. 54), and not from , as the modern form might induce one to believe, e.g. L. 69 G; L. 167 C; etc.


Mao3. To cover something (L. 1 ,4°) ; It forms

T'ung2. Agreement, union, reunion; The primitive meaning is: adaptation

of a cover to the orifice of a vase. — Phonetic series 246.

Ch'iao1. A cover with flowers ( L. 79 B); (vegetable objects;

compare L. 1021). By extension, the shell of mollusks, of fruits, of eggs, t ha t covers them, and is ornamented with fine designs;

In these last meanings, this character is now written chia-cbieb ch'iao1, the pr imi t ive meaning of which was to This character forms th e phone t i c series 517, in w the radical is placed under

strike. hich

contracted; e.g.

The scribes and the engravers often forget the s m a l l stroke of .

s On the o the r hand, they fancy the

different wri t ing . etc.

Meng2. To cover. Its composition resembles that of ( L . 34 If ), a boar t aken in a snare.

It fo rms meng2, the wistaria, a trailing plant tha t cover cover. Phonetic series 784. — The characte

s: to r meng2 is to he distinguished

from chung3, L. 69 G

Mao4 A covering for the head; that which covers the head (L. 1, 40);

—The scribes writeIt is now written ;

so that the derivatives of mao4 cannot be distinguished from those of yueh1

(L. 73 A). Still improving on the scribes, K'ang-hsi, a f t e r having classifi under the 14th radical

ed, , characters that do not belong to it, placed the true derivati-

ves of , the whole series . u n d e r the 13th radical . Such is the value of classifications based upon the modern characters, altered or mingled with others. — It forms the compounds.


Mao4. To rush on heedless, to act wi th the eyes covered ; imprudence, temerity;

— Phonetic series 462. It forms the phouet ic complex

Man2. To offend by headless action. The of is bent

(L. 158), to give room to . — Phonetic series 635.

T'a4 Birds of passage flying in flock; swarm of wings covering the sky;


Chou4. A helmet , the headgear of soldiers; (L. 151 A) is phonetic; Not to be confounded wi th the character chou4 posterit

nd writ ten in the same way (y,

that is pronounced a L.65 B); neither wi th we

Mien3. Offici

i4 ( L. 122 C).

al cap; mien3 ( L. 106 A) is phonetic. Compare yuan1, L. 34 H.

Tsui4. A meeting under the same roof. See L. 146 F. — Phonetic series 711.

Appendix. The repeated twice, is given as being the lower part of the next important compound, though it appears seldom, the modern scribes having changed

into

Yen1. Disappearance, loss, absence. An object that was at one t ine (L. 159 A) in a store, a n d became invisible (a double cover) later on.

See L. 23 G. Note the phonetic complex

Pien1. To walk on the edge of a precipice, r u n n in g the risk of fa l l ing into it and disappearing. Chuan- chu, bank, edge, margin, a boundary in general;


LESSON 35.

About two primitives nearly identical in the modern writing, chin1, and liang3, with their derivatives. :

First series: chin1.

Chin1. A small piece of cloth resembling the Euro- pean handkerchief, that was worn in ancient times, hanging from the girdle, and used for cleaning and dusting. By extension, a bonnet, the ancient Chinese

putting on a cloth to cover their heads; cloth in general, represents the two extremities of cloth hanging from the girdle; represents the slate of suspension ; — It is the the 60th radical of characters relating to cloth.

Note. The lower part of some ancient characters, v.g. L. 119, L. 92, acciden ta l ly resembles . Note also t h a t (L. 79 C) has n o t h i n g in common w i t h . B u t (L. 21 D) is derived from it, as are also t h e f o l l o w i n g charac ters

Fu4. The cloth worn by the anc i en t Chinese, a kind of skin apron hanging from the waist, down to the knees. It was preserved as a souveni r of ancient

custom in the Imperial dress... represents the girdle, the piece of cloth, the hanging of the same;

Compare tai4 (L. 24 Q), the construction of which is analogous. Note. The modern form is used for three characters tha t must be carefully distinguished; shih4 market, L. 34 D; fu4 apron, L. 35 B; fei* vegetation, L. 79 G, that forms the important phonetic series 45, whilst the two preceding ones have only a few derivatives.

Pu4. A piece sf cloth made of hemp, nettles or dolic; the ancient Chinese did not know of cotton. At the bottom , on the top fu4 (L 43 G) as phonetic.

Chuan-chu; to spread out, to display, to explain, etc. — Phonetic series 152.

Hsi1. The interstices of a woven material, between the crossed threads (L. 39 G);

inly, scattered, infre- Now

Cbuan-chu, loose, not close, thquent. Different chia-chieh. , literally grain thin-sown. — Phone s 275. tic serie


Chou3. A dusting-brush. See L. 44 K, L,

Shua1. To wipe one's body with a rag; to wipe; It is contracted in theShua1. To scrape wi th

c o m p o u n d a k n i f e or otherwise, to

scrub, to cleanse:

Pi4. Rag, latters. A piece of cloth riddled with holes (L. 18 A, division). K'ang-hsi erroneously

gives eight strokes to this character, instead of seven.

It forms the homophone

and synonymous compound Pi4, in which (L. 43 D) represents the p cal action t h a t lorethe

hysicloth into shreds.—


Ch ih 3 . It is also der ived f r o m . The top is contracted (L. 102,1), houghs, foliage. cloth that has been pierced with needles a n d so flow

y;ered.

Leaves were the first designs used for embroider — It is th 204th radical. e

Second series: liang3. Liang3. It represents scalse in equilibrium. This character is now obsolete, but forms important c o m p o u n d s in w h i c h i t s p r i m i t i v e m e a n i n g may be still found. In these compounds, a supperadded ele-

ment develops the notion of weighing and equilibrium. Thus two, represents the weight and counterpoise;

to enter-enter (L. 15), means that an equal was placed on both sides;weight graphically

represents the same thing. Etc.


Liaog3. Two weights equa l , state of balance; Hence

Leang3. One ounce. This character is of modern origin. The level beam, is a graphic redundancy. In the sense of two, this character is chia-chieh for he preced — Phonetic series 376. The scribes mu-

tilatet ing.

nt ways, as may be seen here

Tsai . A second

in differe

4 weighing , equal to the first one. on the top represents horizontal beam. Twice, again, repeated;

the

— It has nothing in common with . L

Ch'eng4. This character is formed like the preceding; hut instead of

116 A.

a beam, there is a hand that lif ts the balance, in order to let it oscillate;

represents the equilibrium of the two scales. To weigh, wei

les; now ghing,

sca . It is often written by the scribes.

Erh3. Symmetry, harmony of proportions;

A balance loaded e q u a l l y on both sides. On the top, erh (L. 18

0) is phonetic. See L. 39 N. Chia-chieh, personal pronoun, thou, you;

rect ly engraved The right form has It is often incoronly 14 strokes. — Phonetic series 776.

Man2. Before the equil ibrium is perfect, the balance oscillating hither and thither. Co L. 103.C.

mpare

The vertical strokethe lements are united. Tmonly write

s of two e he modern scribes com-

instead of . It forms.


Man2. Equality, equil ibr ium; Compare L. 35 I. — represents the level

beam. — Phonetic series 636.

Chien3 The cocoon of the silkworm: f rom si lk, the worm, the regular form of the cocoon;

The modern character is place re purposely to how the engravers transformed

the

d he show

LESSON 36.

About the primitive

; Mien1. It represents a hut , a dwelling — It is the 40th radical of characters relating to

dwellings. It forms

Sung*. A hut made with wood;

T'ang4. A cave-dwelling

, in the rock;

Tsung1. An ancestral h a l l ; The bu i ld ing from which emanates

(L. 3 D) the inf luence of the deceased ancestors over their posterity. By extension, ancestors, a clan. — Phonetic series 404.

Ning2. Rest, happiness; the heart of man being satisfied, when he has a shelter and a full dish,

board and lodging; It is found con

Ning2. That which one

tracted in

is in need of, to enjoy rest; The of was replaced by The srribes often write incorrectly


Ning 2 . That which one aspires to , to enjoy peace. To wish, to prefer; peace, to soothe;

The modern putwriters (L. 57) instead of (

honetL. 58), out of respect for the

etymology. — P ic series 785, under the modern form .

he sc one

:

— This character was specially ill-treated by t ribes. See, underneath the r ight one, some wrong s invented by them. Note lao2 is not derived from . L. 17 F.

Second series. In some modern characters, instead of being contracted in to , mien2 ke p t i ts anc ien t f o r m . O n l y t he d o t w h ic h represents t he top of the

roof, sometimes s l ipped to the l e f t , and was changed i n t o . Examples :

See L. 123 F.

Hsiang4. A small round window in the Northern wall, under the roof , for ventilation;

The is ation of the small window, and not

the represent the mouth, 30th ra-

dical. Chuan-chu, to face, di rec . — Phonet ic series 200. To be distinguished fro he series 122.

t ionm t

chiung3 (L. 34 B). It forms

Shang4. Has n o t h i n g iu common w i t h (L. 18 H), under which it was classified by K'ang- The vertical stroke is the top of

hsi. protracted; the ateral

strokes aretwo l

(L. 18 division, separation ; A), The crest or ridge ou the roof of Chi-

nese houses, which divides wind and rain,and which is placed last of all. Hence the meanings, to add to, still, elevated, superior, to esteem, etc. — Phonetic series 391, in which placed above the radical, is contrac-ted into

. In composition, means a roof or a

house.

Ch'ang3. To knock (L. 43 D ) a t a house door, to open. — Phonetic series 663.


T'ang2. Dry and even soil under a roof. A hall, a meeting-house, a court. — Phonetic series 649.

Tang1. Value of a field (L. 149 ), or of a house. To value, equal to, to compensate, to match, convenient, etc. — Phonetic series 763.

Tang3. A house which is smoky or dark. A poor hamlet. To clob together in darkness, secretly, a cabal, a conspiracy. — Phonetic series 857.

Ch'eng1. To give feet (L. 112 B) to a house, to prop it up. The scribes altered the ancient form. — Phonetic series 666.

Shang1. The flowing ga rme n t , robe, which covers the lower part of tbe body (L );. 16

Shang1. To bestow as a reward cothe money of the ancients;

wries (L 161),

It forms ch'ang2, to pay, to compensate.

Chang3. The palm ot the hand. Chuan-chu, to grasp, to rule (L. 48);

Ch'ang2. A banner n-ch

used to head the troops ( L. 35); hence cbua u, rule, constant way, con- stantly;

Ch'ang2. To th ink something good, to taste (L. 26 K ) ; Chia-chieh for the last. It is often eng raved incorrectly.


LESSON 37.

A b o u t , derived from the. p r i m i t i ve , explained in the last Lesson. Hsueh2. A space obtained l>y the removal of rock or of earth; a cave, a hole a den. — It is the 116th radical. Phonetic series 125. It forms

T'u4. A dog (L. 134) tha t rushes headlong out of its kennel, to attack an ntruder. Chuan-chu,

impetuousness, i

suddenly;

Ts'uan4. A rat (L 139) in its hole. To hide one's self, to conceal one's self ce of safety;in a pla

— Phonetic ser

Ch'uan1 To bor

ies 843.

e ,with the teeth (L'. 147). To perforate, to run through, to put on;

Wa1. A hole, to make a hole as the robbers do when they pierce through the walls; (L. 9 B).

It forms wa1, to dig out, to scoop out, to excavate.

Ch'iung2 . A man (L. 28) who looks (L 168) out from a cavern, to h

spyl l th

it (L. 43 D) or to catch. To be on the watch for, to , to expect, to covet. It is often altered, as are a e intricate coin- pounds;

It forms the phonetic compound ch'iung2, a precious stone. It is a radical contracted in the important compound

Huan4. To exchange, to change; To pass an object from one hand to another, e whil examining it attentively, to avoid deception.

Now . Note the contraction of into , in the modern writing. — Phonetic series 451.

Chai3. In a confined space, narrow, as when one is crouched down in a hole. See L. 10 F.


LESSON 38.

About the three primitives: k'an3 ch'u1, and kung1, which are both wri t ten in the modern way.

A Note: Two other primitives,i3 (L, 85 B) and ssu1 (L. 89) are also wri t ten , in the modern running hand: so that i

arer.s used for four ancient primitives,

which fact does not make the matter cle

First series: k'an3. K'an3. A hole in the earth, a pi t ; — It is the 17th radical. It forms

K'uai4. A clod, a shovelful of earth; there is a hole , where the earth was removed; a furrow, a t r e n c h ; It forms chieh4 often incorrect ly engraved ; a man (L. 32) sitting down on the trench ich marks the l imi t of his properly, and thus asserting his domain. Boundary, limit.

Hsiung1. This character represents the fa l

wh

l ( L. 39 B ) of a man into a p i t ;

Chuan-chu, an accident, unfortunate, un lu ck y . — Phonetic series 62. Note the compounds Hsiung1. The t h o rax , the breast, the heart , the affections.

concealed in a man , (L. 54). — In the second form

(enveloping

L. 65) represents the flesh the inte

For, says the Glose, it is in the heart that the evi l is conceived; — Phonetic series 206.

Hsiung1. A man (L . 29) under evil influonces, contemplating or doing ev i l ;

, It forms the phonetic complex Tsung1. To move, to shake ;

(L. 31 C). - Phonetic.series 483.

Hsu. Mad with dr ink (L. 41 G).


Second series: ch'u1. Ch'u1. Basin, porringer; This representation is found in more intricate characters designing different vessels, e. g.

Ch'u4. An empty vessel and its cover; The top resembling in the

modern writing, and in the old one, is a special primitive. Chuan-ch empty, to remove, to lay aside, to leave; ideas ming from the removal of a vessel's cover, and o ontents. Compare below

u, to co

f its c . — Phonetic series 119. It forms

Tiu1. To lose. Falling down and disappearance of an object; Compare

L. 48 B

Chieh2. To prevent by violence (L. 53) a man from going. as the brigands do;

By extension, coercion, violence The scribes often write , which is a wrong character. The philologists refer to , a contracted phonetic, the compounds of in ieh, as chieh4, etc.

The same cover, upon a different vessel, may be found in the ancient forms of the following characters

Hu2 A pot, a jug. The representation of the vessel is a primitive. On the top, the cover.

It has nothing in common with ya4, L. 82 H. Not to be confounded with

k'un3, L. 15 A. It forms the next. I1. A kind of ritual vase of old.

This character, now obsolete in the primitive sense, is used ins-

tead of— one, in casting up accounts. See 24 C, and 38 D.

was the auspicious vase; was the inauspicious corresponding vase.— Phonetic series 680.

Etymological Lessons. 38 39. 107

Ho2. A dish filled and its cover. To till, to cover. This cover resembles the cover of , the vase being represented by (L 157 A) instead of . In the vase. — represents the contents (L. 1, 4°).

In the modern writing, the scribes contracted the cover and the

contents into , thus forming an illogical character, for it is made with one cover and two vases, and . It is often chia-chieh for , an interrogative particle:

— Phonetic series 532, under its modern form. Note the compound

Kai4. A. roof made with course grass used for thatching, to put a roof on, to conceal both literally and figuratively; a cover;

The modern form is admitted by the critics, but is an unauthorised character.

kung1.

K u n g 1 . I t w a s a t first a rudimental representation of the arm bent;

Third series:

Then the hand (L. 46) was added. The latter forms the phonetic

series 69.

LESSON 39

About the, character , which corresponds with two primitives (Series I and2); and about its multiples (Series 3. 4. 5.1.

First series: wu3

Wu3. Five; a numerical sign, It represents, says the Glose, the live elements (four sides and the centre; compare L. 24 A). Later on, two strokes were added, to represent heaven and earth, and thus was formed

Wu3 Five; The two principles yin1 and yang2, begetting the live

elements, between heaven and earth. It forms Wu2. An appellation to design one's self; I, my, me;



Second series: i4.

I4. This character is intended to depict the blades of shears; action Of cutting or turning; action or influence of any kind. It is formed of two (L. 7 C) intercrossed and jointed;

To c u t grass, to mow,. Jt is f o u n d in

Sha1. To cut an ear. See L. 45 J.

Hsiung1. To roll down into a pit. See L. 38 D,

Third series: Two , side by side, represent the meshes in the important character

Wang3. A net; to throw down the net, to entangle, to catch. It is derived f rom covering (L. 34 H), and representing the net;

— It is the 112th radical of characters concerning nets. The scribes alter so 1hat it may he mistaken for bent down ( L . 158). It forms

Wang3. To car ry off by a cast of the net (L. 10 E). By extension, disappearanabsence, negation; compare

ce, (L. 10 I, J). The scribes

wrote

in such a way t h a t it resembles the 169th radical .

nded — Phonetic series 408. Not to be

confou with the next

Kang 1 . The culminating p o in t of a mountain (L. 80), covered by t he c loudst The Close rejects as being a g r a ph i c redundancy , and gives as an i rregular f o r m of — Phonetic series 365.

Chao4. To take a b i rd (L. 168) in a ne t ;

with a Lo2. To catch birds net made w i th threads (LL. 168 and 92). — Phonet ic series 815.


Li4 To blame. To entangle a culprit, in the reproaches (L. 73 C) addressed to h im;

Fa2. To punish, a penalty;

Railings and corporal maimings inflicted with a sword ( L. 52 ).

Chih4. The Glose explains this character as follows: to procure the delivery of a just man (L. 10 K), fallen into the net of a slanderous accusation;

Chuan chu, to procure, to dispose. Pa*. To dismiss a mandarin, drawn into a snare. To cease, to stop. See L. 27 J.

F o u r t h series: Two superposed.

Yao2. M u t u a l act ion and react ion (L, 39 B ) ; influence; symmet r i ca l dispos work, etc. — It is the 89th radical. Note the f o rm

ition, net- of on the top

Of the compounds.

Hsiao2. To learn. The disciple (L. (4), improving under the influence of the master;

See below .—Not to be confounded with hsiao4, f i l ia l 'piely, L. 39 E. — It forms

Chiao1. To teach. Here the (

theL . 43 D) ferule is joined to master's influence, for the for

mation of the disciple;

Hsiao2. To learn. This character is more, explici t than (above H) . Both hands (L. 50 A) of the master, acting from above upon the darkness which covers (L. 34. H) the mind of the disciple.

— Phonetic series 733, under the contracted form , always giving place to the radical. Note chiao3, to percei- ve, to feel, which forms some insignificant compounds.

110 Etymological Lessons. 39 40.

Yao3. Meat , cut up and made ready according to the rules.— Phonotic series 4 1 2 .

Hsi1. Interstices of any material, between the intercrossed threads; loose, scarce, etc. See L. 35

Fan2. Fence, hedge-row. From two

D. — Phonetic series 275.

trees, bound and interlaced , to form a hedge;

See , L. 47 Z.

Po2. A hoise (L. 1 3 7 ) , dappled, spotted;

By extension, to lind fault with, to criticise, to censure, to refute. This character s often incorrectly written i

Fifth series: repeated four times representing symmetry, meaning action, in the following

Erh3. Harmony. See L. 35 L — Phonetic series 776.

Shuang3. A man (L. 60) acting with both arms; active, alert, cheerful;

There are diflerent chia-chieh Compare 13 B, and 27 E.

LESSON 40

About the three series , indudiug five primitives.

First series: hsin4

Hsin*. The skull, the cover of the brain; In composition, the head It is often altered in the

modern writing, so that it resembles (L 119) It forms

Pi2. The navel, which is supposed to be In communication with the head .through ducts in which circulate the vital spirits See L. 27 I. — Phonetic series 557.


Ssu1. To think; When one is thinking, says the thGlose, the vital fluid of e heart ascends to the

brain.— Phonetic series 477. It forms

Lu4. To meditate;


Head and hands. It wi l l be explained, w i t h its im po r t a n t series, in the L. 50, M N 0 P.

Hsi4. Tenuous, slender, l ike a t h r ea d ; It may be t h a t the p r im i t i ve sense was hair,

the f i l am ent s that cover the head.

Sub-series: hsin4, which is often engraved by the modern writers op

Hsin4. The hairy head; This was fi r s t a special primitive, representing a i r raised up a n d kno t t ed in a t u f t ; then thethe h

often was covered w i t h h a i r (L. 12 M ) . The engravers cutt ing instead of , the derivatives of bsin4

are easi ly confounded wirh those of tzu1. Sec LL. 150 A, and 12 I. — It forms

Nao3. The brain , the mar row of the head, says the Glose;

The (ricaNote

L. 56 A, 2 ° ) is i n t ended to mean the symmet l s tructure of the brain , hemispheres a n d lobes. — : always contracted into

honetic sg iv ing place to the radical, forms the p eries 469, etc.

Lieh4. Hairy, bristly, disorderly; above. The bottom is The top is the hairy head, as

shu3, rat (L. 139 B) contracted ; the whiskers and ail of a rat.— Phonetic series 80S. the t

Fei4. Monkey. Sec L. 23 F.


Second series: fu4.

Fu 4 . Head of a devi l , of a p h a n t o m ; It forms

The sp i r i t of a dead m a n , a manes, a ghost, a spectre. Fu r th e r , a f t e r the in t roduc t ion of Buddhism, it m e a n t , a d e v i l , a preta.

Kui3.

The old charac ter is evidently a primit ive representing a h u m a n f o r m floating in t h e a i r . The more recent forms o f t e n show the, spl i t head of B u d d h i s t pretas, a n d a lways have an appendage, t h a t was sometimes taken for a tail, but tha t really represents the whirl ing made by t h e ghost , while, it moves. — It forms the 194th radical of characters re la t ing to devils . Phonetic series 5i8. — Now is a s y n o n y m for horr id , repul- sive, mal ignant .

Wei4. To dread, to be in awe, a w f u l , terrible. The c h a r a c t e r was first composed of t h e head of a spectre , a n d of claws (L. 49). La ter on, a man

f r ightened, was added; for, says the Glose, nothing i res more awe, t h a n the head of a demon, or

claws of a t iger;inspthe

Compare the composit ion of , L. 135 H.

The bottom of t h e modern charac ter strange contract ion (compare L. tO H ) ;

is a lost its ;

ere f inal ly

K a n g - h s i placed th i s charac ter t h us a l t d under , t he 120th r a d i c a l , — Phonet ic series 488.

Yu2. An ape; Its head and its tail and paws ; the head resembles that of a demon, See L. 23 E — Phonetic series 503.

Pi4. To agree, to enter in to an engagement. is not a head, It is the pledge, the earnest laced upon a

-money p small table (L. ?9 K), an act that conclndes

a transa By extension, to yield ( to the conditions), to give (the earnest-money). Classified by

ction.


K'ang-hsi unde r the 102th radical.

Compare L. 47 R i4, difference, disagreement. The hands rejecting the pledge placed upon the table , that is, the affair is not concluded, the

bargain is not made. — Pi4 is phonetic In PI2. The nose; See (L. 159 A ) . - It is the 209th radical.

Note: and much annoyed K'ang-hsi. Final ly he classified under the 31th radical, and unde r

in ththe 102th radical. It Is therefore not easy to

see the etymological meanings e modern series of radicals.

Third series: ch'uang1.

This modern character has two ancient forms, each forming a distinct series. Further there will be an appendix for the modern abbreviation

Ch'uang1. A window, closed by a shutter or by lattices (two forms); It is now replaced by its c o m p o u n d

1. Derivatives from the first ancient form Besides cb'uang1 window, and

shu1 shutter, note

Ts'ung1. To feel alarm or agitation; When the heart being restless.one looks

th ro ugh the window, to see what is coming. — Phonetic series 660.

2. Derivatives from the second ancient form. Hei1. Black. That which the

fire deposits around the, aperture through which the smoke escapes; soot ; In the primitive

Chinese huls, the smoke found its way through the window. Note the contraction of (L. 126 D) in the modern character. — It is the 203th radical. Phonetic series 678. It forms

Mei1. Chinese ink, an earthy substance made with

soot;


Hsun1. Smoke, to fumigate. Black vapour that rises from the (ire; (L. 78 A) is used symboli-

cally; Note the modern contrac-

tion. — Phonetic series 781.

Tang 3. A meeting in the darkness ; conspiracy. See L. 36 E — Phonetic series 857.

Tseng 1 , ts'eng2. The words tha t people say to each other, when still at the door, at the moment of

dd. deparlure; adieu. By extension, still, more, to

a — Phonetic series 710.

Hui 4 . The words that people say at the door, when (L. 14 A) they meet; greeting. By sion, mee reunion — Phonetic series 736.

Note.

extenting,

Chien3 does not come f r om . It is added with . See L 75 A.

3. A p p e n d i x . an a b b r e v i a t i o n of , a b o ve iO D, is f o u n d in ts'ung1 for Hence ts'ung1 o n ion .

LESSON 41

The seven series of t h i s Lesson are devoted to seven characters, distinct in the ancient wri t ing, analogous or identical in the modern wr i t ing, viz: 1. ping3. — 2. t'ien4 — 3. hsia4. — 4, 5, 6 hsi1, t'iao2, yao1. — 7, yu3.

First series: ping3. Ping3. F calamity. The fireire, unde r a roof, in a house. The more recent form represeflames rising up and — spreading over f

nts the the roo ;

Phonetic series 150 It forms

Ke ng 1 . To change, to improve; , Intervent ion of the armed

hand (L. 43 D) in a fire, in an u n h a p p y s i tua t ion; change, amendment. Nole the contraction of the

modern character, and the compound su1, to return to life. K'ang-hsi erroneously classified under , the 73th. radical. — Phonetic series 283. It forms


Pien4. Pien2 A man who settles his afTairs well; advantage, convenience, ease;

— Phonetic series AH.

tien4.

T'ien4. Chin A primitive. The second ancient character is considered as an abbreviation of the first, which was explained in the L 47 I. In composition,

Second series:

is often used for (L. IT G), dried meal, It forms the phonetic compound

Ch'ien4. Rubia cordifolia, a climbing plant with large ovate leaves, used in dyeing.

Hsu4. A man who eats or offers (for ) dr ied meat It forms Hsu1. Hsu3. A roof under which a traveller stops, to spend the n t ;igh means, either that he eats the dried meal he br i t h h im, or ra ther t h a t he gives the dried m o pay his host. Conste l la t ions , the. celes nns. The scribes write

ought weat ttial i

for ; it is a l icence.— Phonetic series 613.

Pi4. A i d , helper , lieutenant, Two bows, s trung on a bamboo with

leather-strongs, to prevent deformation; The idea of helper, of minister, comes

from the fact that, in ancient times, bows, like swords, were paired, not single. See L 87 B.

Third series: hsia4

Hsia4. A k i n d of stopper, of cover; A primitive, often engraved . — It is the 116th

radical of a few common character. It forms

Chia3. Ku3. To buy. To cover an object by its value in eowries (L. 161 ), to pay its value.

Fu2. To cover. See L. 75 1.

1 1 6 Etymological Lesson». 41.

Fourth series: hsi1. hsi1. A primit ive not to be confounded with the preceding, under which K'ang-hsi wrongly cbassified it. Image of a bird sitting on its nest; note the successive contractions; Chuan- chu, the West, for the the sun is setting;

birds go to roost when

It forms

Jeng1. Cry and flight of a bird caught on its nest; It is now wr i t ten . See L. 19 A, where this

character was fully explained.

Yin1. To destroy, to wall , to dam in ; See L. 81. It is now wri t ten

The pr imit ive idea was probably tha t of mud nests buil t by certain birds, v.g such as the swallows. — Phonetic series 499.

Lu3. The rock salt, that was first used by the Chinese, a n d tha t comes from the West, says t he Glose. Hence the composition: hsi1, West, in its ancient form, and four grains of s ;alt

— It is the 197th radical. It forms the compounds Yen2. Salt obtained by evaporation of the sea-water;

Ancient form salt and the basin (L. 157 A) used to prepare it. Compare L. 82 F.

Chien3. impure carbonate of soda.

Hsien2. Salted.

Tan2. Pickled. See L. 75 G.


Fifth scries: t'iao4, contraction of T'iao2. Fruits hanging f rom plants or trees, in ears or in bunches; A primitive. On the top

h. Thelt i tu

the pedicle, at the bottom the ear or the bunc ancient form was thrice repeated, to mean the mu de of fruits. Not to be confounded with

a singular form of yu3 (L. 41 G). K'ang-hsi wrongly classified t character under h i s , the 25th radical In composition, in the modern , forms is wr i t t e n , v.g. Li4. Chestnut- tree; See L. 119. — Phonet ic series 550.

Su4. Ears, grains of corn; See L. 122.

S ix th series: yao4, cont rac t ion of

See L. 50, N, 0, P.

Seventh series: yu3.

Yu3. A p r i m i t i v e . It represen ts an ancient vase, a k i n d of a m p h o r a , u sed for m a k i n g or keeping t h e f e r m e n t e d l iquors . By extens ion, fermented l iquor , now chiu3. There are chia chieh of different kinds. — It is the 164th radical of characters re l a t ing to l iquors It forms

Yu2 or shu2. To offer up libations, in the old way, on a straw bund le ;

See page 362.

Chiu4. Liquor obtained when the fermentation is over, when th egs are entirele dr y separated (L. 18A); spirits that have settled;

— Phonetic series 432. It forms

Tsun1. To offer with both hands, the wine, to the manes. By extension, to honour, h noble. See L. 46 E. The scribes replaced

igh, by

.—



Tien4. Spirits for the libations, placed upon a .small table tL. 29 K) ; to offer libations. The scribes ofte racted n cont into It forms the compound

Cheng1. Name of a city.

LESSON 42

About the two primitives ssu2 and chiung3.

First series: ssu4.

Ssu4. Four. N r i ca l sign. Even n u m b e r , w h i c h is easily divided into two halves. The old f o r m graphica l ly represents the d i v i s io n nf

u m e

in to two halves. — Phonetic series 1 0.

Liu4. Six. The even number, also easily divisible, that comes after four. marked with a dot. Note that in the other simpl en numbers, the divisibility is also indicated;

e ev two; eight,

P'i3. Half of a whole. The whole is represented by . A little more than the h a l f of was kopt, so the character is still recognisabthat le;

That which , be its l ike , forms a pair , a ma tch See the c o m p o u n

ing jo ined wi thd

L 73 B

chiung3. Chiung3. A window;

Second series: By extension,

light; Compare L 40 D, and L 41 G. The modern form is to be distinguished from L. 15 C. It forms the compounds

Meng2. A liliaceous plant, Fritillaria Thunbergi i . A phonetic complex.


Ming2. Brightness, to illustrate. The moon sbining through the window;

instead of Li-ssu read hence sun and moon, light. — Phonetic series 384.

It forms

Meng2. Note in the first place that the radical is not . as the modern character might induce one to

believe; it is blood; To clear up an obscure affair, by

swearing, in the old wa on a vessel full oy, up f blood.

Meng2. To bud, to germinate, to open, to appear in the light; See L 78 B.

LESSON 43

The eight fo l lowing Lessons, 43 to 50, treat about the character representing the human hand. Among the modifications introduced in the modern writing, there were none more deplorable, than the replacing of those very expressive characters, by unrecognisable abbreviations.

In the old writing, the hand is represented in s ix different ways:

A Note. The use of a compound, instead of the primitive, is frequent in these series, in order to make easier the distinction between the numerous derivatives from hand. See p. 16, aote 1.

The right hand prone. L. 49.

Both bands raised. L. 47.

Both h a n d s hanging L. 50.

The right hand in profile. L. 43 seq.

The l e f t h a n d in profile. L 46

The h a n d facing. L 48.


First series:

Yu4. The right hand. The Glose explains that the fingers are reduced to three, for the sake of simplification;

m b e r of compounds. — It is thIt is found

in a great n u e 29th radical.

Chih1. Bough, branch. The right ha nd holding a bough. The old form represents the hand separating he bough from the stem; t

— It is the 65th radical. — Phonetic series 45.

P'u1. To tap; The right hand holding a rod. Compare L. 43 G. The

nted t h e m o d e r n form

engravers inve . — It is th of characters r e la t ing to strokes and

e 66th radicalmotions. Note t h e two fo l lowing compounds

M u 4 Sh eph erd , to feed. The man who superintends, has oversight of cattle;

1Chiao . To teach. The master

armed with a rod, acting upon his disciple. See L.

89 H.

Fan3. To t a r n over, inversion. The mo t ion of the band turn ing over;


Chi2. To reach, to seize. A ha nd seizing a man; See L. 19 D. — Phone- tic ser

Fu4. Father, considered as the e h i e f a nd instructor of his family. Composed of

ies 40.

hand and a st ick; Compare

L. 43 D. — It is the 88th radical. Phonetic series 60


P'i2. To flay; skin. The hand that flays; The left stroke, represents tbe skin; ethe stroke above th hand may represent tbe knife.

These two strokes are a special primitive. — It is the 107th radical of characters relating to skins. Phonetic series 149. It forms Chia3. False, borrowed; To have

two skins, a double skin, a borrowed skin over one's true skin. The modern character reproduces the ancient one. — Phonetic series 427.

Nan3, nien3. Thin skin. It is an abbreviation of Not to be confounded with fu2, L 5 C. It forms. 5

nan3, to blush. Turning red of the thin skinthat covers the cheeks.

Second series:

K In the modern wr i t ing , the stroke of is suppressed , when it coincides with a stroke in t h e same d i r e c t i o n , coining down f r o m the, top of the character. In this case, there remains b u t f iom . In the anc ien t wr i t ing , these charactersare made l i k e those of t h e f i r s t series.

Chang4. A l i n e o f t e n s p a n s (See L. 32 F). A hand and ten; — Phonetic series 1

, ate. A h a n d

3.

Shih3. A n n a l i s t scribe, liter grasping the foun ta in-pen (pag 7)e ;

It forms

Li*. Those among the literati, who were (L. 2 G

over the instruction and administration of the

people

) set

;

— See L. 44 H.

Chueh2. To divide, to partake; A hand holding one half of a bilateral

object, which was divided into two halves. K'ang-hsi wrongly classified this character under

, the 37th radical. — Phonetic series 53.

122 . 44 Etymological Lessons. 43 .

Third series: Multiples of Yu3. Friend, friendship. The character represents the

who cooperate;

right hands of two friends, acting in the same direction; for, says the Glose, true friends are those

Compare

J L. 46 C. ao2. Three hands picking herbs; to gather; It is an ancient form of L.

represented thrice signifies activity. It forSang1. The mu

46 G The hand ms

lberry, the of which are tree, the leaves

plucked to feed the silkworms; —


Cho4. To sew; This character has nothing in common with the hand. It is a primitive that represents the stitches encroaching upon one another. Compare (L. 57 B). - Phonetic

series 341.

all examine some characters hich nd

LESSON 44.A In this Lesson, we sh in w the ha kept almost its ancient form i s of these characters resemble those of the last Lesson. Do not confound the hand

n the modern writing. The ancient form, with

the 58th radical Ch'ou3. A hand bound. To bind, to tie u p ;

Chia-chieh, a cyclical character. Sometimes, in composition, it means the hand (L. 43 A). — Phonetic series 50. It forms.

Hsiu1. To be forced to offer a sheep in expiation, as a re-

wrong. Hence, to paration for feel ashamed, to blush.

Yin3. A magistrate, to govern. A hand that exerts a u t ho r i t y ;

It forms i1, a proper Dame; and 1. A prince;Ghun

See, p. 9, for the story and

the Interpretation of this character. — Phonetic series 267. But ts'ang1 is not derived from . See L. 26 M, under


Nieh4. A hand writing upon — a surface. In the ancient form, hand writing upon a tablet, whose top on ly is figured.

Yu4. A more explicit form. Hand writing — a l ine on a lahlet. The l ine is horizontal, because it was impossible to truce a vertical one (p. 18,8). The modern writing-brush is written , because its handle is made of hamboo. — It is the 129th radical. See its important derivatives, L, 169.

Tai4. To reach, to seize, to hold. A hand that seizes a tail ; when running, one seizes from behind ;

For contracted, see L. 100. Compare ch'iu2,

L. 45 K. See, also (L. 102 B) k'ang1, that has nothing iu common with . -~ It is the 171th radical.

Chieh2. Result, success. The hand having reached its end, ceases from ac g. Seetin L. 112, and L. 78. — Phonetic series It forms

Ch'i1. Wile. —This form is a relatively modern one;

330

(L 67) a woman who holds a broom or a duster. For, says The Glose, the woman must take care

e household. Compare of th (below K). — A more ancient form gives: da er, anught d price (L. 111 B). The price paid to th nts, for their daughter, by the husband. — Phonet seri

Shih4 To serve. Chia-chieh any affair. Hand

e pareic es 326.

acting with fidelity, is a false interpretatio This

character has nothing to do witn. h L. 43 M.

- sents the hand of a son invitin soul

of his ancestor. See page 370.

It repre g the


hold by a Ping3. Sheaf of grain hand, to bind in sheaves, to hold;

Chien1. A hand that binds up into sheaves two (several) stalks of grain. By extension, to join several together, a whole. Note the contraction of the two in the modern form. — Phonetic series 519.

Hui4. A broom, hundle of branches held in a

See L 97 B. K'ang-hsi wrongly classified this character under the 58th radical. — Phonetic series 617. It forms

Hsueh3. Snow; ra i n solidified, t h a y het m a swept away;

The scribes contracted into

Chou3. A duster, mode wi t h a cloth, fixed by the m i d d l e to a h a n d l e . I n v e n t e d in t h e 2 1 th C e n t u r y B. C., a c c o r d i n g lo the Glose., it is s t i l l used in o u r days . A hand , t h e h a n d l e , a n d a double c lo th

i n g .h a n g Compare t h e b o t t o m of L. 24 Q. — Pho- netic, series 343. It f o r m s

Fu4. A married woman, wi fe ; A woman wi th a duster, indicating

her household duties. The ancients, says, t h e Glose, gave to this character the sound of fu, to remind the wife that she must be f u , obedient to her husband. Compare ch'i1, above G.

1Kui . The ar r iva l of t h e br ide at her husband's bouse, where she wi l l slay as a wife ( contracted);

Later on was added as a phonetic. Chuachu, to belong to,

n-

Chin 1 To dust A

to depend u p o n ; the maried woman belonging to a new family , being submitted to a new authority.

h a nd holding a duster (above K) Pleonastic composition (two ). The scribes invented the modern form. honetic series 261. The compound

— P ch'in4. to encroach upon the

neighbour's ground, is explained thus: to act g r adu a l ly and discretely, a th as wi dusting-brush, thus gaining on one's neighbour's ground;


LESSON 4

125

5

A About five de r iva l ives f r o m , t h a t arc of a special interest, on account of the series derived from the m . These are :

First scries Tsun4.The Chinese inch. Theon t he w r i s t w h e r e the pulsinch d i s t an t f rom the h a n d ;

clot represents th e place e is felt, which place is an hence the meaning i nch ;

By extension, measure, rule. In composition,

is o f t e n w r i t t e n ins tead o f . ; see L. 43 A. — It is the .41th radical. Phonetic series 32. It forms

Fu4. To give A hand tha t gives up some, object to a man : — Phonetic series 420. it forms

Fu3 Building where t h e records, the litle-deeds of do-

kept ; nations, the diplomas, were

By extension, t r ibunal , palace.—Phonet ic series 355.

S m a n d a r i n , a p re fec t ; the m a n , w h o , in h i s hou3. A t r i buna l , a p p l i e s the law.

By extension, to observe, to keep. — Phonet ic series 237.

Te2. To acquire, to obtain; To lay one's hand on the thing one

had in view The compound itimes

s now used instead. — Phonetic series 397. Some is used as an abbreviation of , e.g. for nai4; it is a licence. Note the, contraction of the modern character.

el treadsHsun2. To wind, to unrav with the hands and the ; the latter probably represen-

ding.ting an instrument used for the win The old character

f threads by two handsrepresented the unravelling o holding combs. By extension, to examine, to invesli-

126 5 Etymological Lessons. 4 .

gate (the winding requires attention); length, duration (as of a thread winded ). The charac ter was a l tered by the scribes. There are different chia-chieh. — Pho- netic series 686.

Chou3. The fore-arm, the elbow; The fleshy part above the wrist.

Chou4. The crupper of a saddle; The preceding contracted, is supposed etic. Now

to be the phon

T'ao3. To rule by one's words; to chide

Second series:

Ch'a1. To cross, to interlace. The a n c i e n t character represented t h e two hands i n t e r l a c e d . In t h e modern character, the l e f t h an d is represented by

By extension, gearings, toothed wheels, etc. — Phonet ic series 12.

Third series.:

Chao3. Claws; Hand or paw with points; It forms

Tsao2. Flea. The insect that irr tates

— Phoi men, says the Glose. netic series 570.

Fourth series:

; Shu2. A glutinous grain, rice or millet The idea of glutinousness is represented

by the hand , that separates three agglutinated grains. The ancient charater represented the plant.— Phonetic series 158. It forms

Sha1. To decapitate; The cut t ing (39 B) of the ear, upon a stalk of rice, sorghum or millet. hon the top, the hand after ththe stalk beheaded. To behea

T e ancient forms represent: e cutting ; at the bottom, d a man is now said

sha1, (L. 22 D) representing the sword's stroke.


Note that the modern scribes, leaving off the dot on the top of , write etc., which gives the phonetic strokes, instead of 7 and makes one mistake 6 , for

(L. 119). It is a licence. K'ang-hsi numbered 6 strokes in , 7 in , then 6 again in- , etc. It is an inconsistency.

Fifth, series:

Ch'iu2. To search for, to ask, to implore. According to the Glose, the primitive composition and meaning of this character would be l i ke those of (L. 44 E);

; to seize, or to hold by the tail contracted (L. 1 B). The meaning, to beg, to pray, would come from00 sacrifice of a bul l for impetration, as under the Chow Dynasty. Perhaps, in this sacrifice, the offerer held by its ta i l the offered bu l l . — It seems rather that the primitive sense, was , to offer hairs (L 100) of the victim, with prayers, as was done in the ancient sacrifices. K'ang-hi wrongly classified unde r wa-ter. — Phonetic series 263.

A The first Series of this Lesson treats about the left hand

LESSON 46

. In the modern writing, on the top of the compounds, it becomes ; af the b m, it becomes otto

, etc. It is never written (See LL. 44 and 135 H). The second Series treats about some compounds which the right han, in d placed on the top, became also in the modern writing. In their ancient form, those compounds are made just l ike those given in the LL. 43, 44, 45.

First series: for

; Tso3. The left hand Was soon replaced by

Tso3. Properly, the help given by the lef t hand to the right, its action;


Gh'a4. Variance, and consequently, aberration, fa i lure . Two h a n d s opposite. Whi l e the l e f t hand is act ing , offering some object, t h e r i g h t one does not move, does n o t receive, remains hanging. Compare 43 P, 47 B, 47 Y, 50 A, etc.. The t rac ing of the hang ing right h a n d being too difficult wi th the modern wri t ing- brush , the composi t ion of t h i s charac ter was modified as follows; left hand , m a k i n g two with the right one, not agreeing with i t , f o r saken by the right tha t (L 18 E) remains hang ing , instead of help ingthe l e f t ;

a foolish scribe wrote F ina l ly , instead of , and Li-ssu adopted. Conclusion : has noth ing i m- m o n , e i t h e r w i t h

n co, or w i t h (L, 103). — Phonet ic

series 506.

To4. To b u i l d a (L. 86) l i n e of con t r ava l l a t i on , terraces, to besiege, a f o r t i f i e d t o w n , according to t he Chinese ways; represents t h e action of the besiegers; twice repealed, means t h e i r great n u m b e r ; left, means that their action is the inverse, the contrary to the act ion of t h e besieged ; By extension, to des t r oy . It forms

To4. S u i 2 Mea t c u t up. One of the two was

replaced by the radical (L. 65). It forms, contracted in to in t h e modern wri t ing, the et ic series 480. The phonet ic ex

phoncompl

sui2, to fo l low, forms the phonetic

series 759.

mean ing is chuan-chu fromthe pr imit ive meaning

PI4. Ordinary , vulgar . This

; This charac te r represents an ancient

dr inking vase provided wi h at h a n d le on the l e f t side (a p r imi t ive distinct from (L. 152), and which was held wi th the lef t hand. How came th is character to mean common, v u l g a r ? There were, says t he Glose, two w i n e vessels, the tsun1 and the pi1. The tsun1 was used for the sacrifices, t h e pi1 was used every day. Later on, the two characters were taken in the abstract sense for noble and vulgar, and the vases were wri t ten tsun1 a n d pi1 ;



Second series: for

Yu4. It means now, the right hand (chia-chieh for L 43 B), the right side. The primitive meaning

owas. t put in the mouth; to help the mouth, as the Glose says; ch is a proof that the ancient Chinese used th hand to eat;

whie right

Hence, to help. Compare L. 46 13. _ Phonetic series 172.

Jao2. Pr imit ive sense, to pick, eatable herbs, in order to eat them; Compare L. 43 Q. — Jao- is (chia-chi tant conjunction, if , as, etc. See the

now eh) an imporcompound L 10 D.


Yu3. Primitive meaning: the phases of' the moon , its month ly darkening, as if a hand covered it;

Or, according to othipse of the. moon, the interpretat ion being the

same. The fol lowing interpretation: eclipse of the s u n , the

ers, ecl

moon placing the hand before it, is rejected by th e com-

mentators. — Yu3 means now (chia-chieh) lo be, to have. — Phonetic series 250.

H u i 1 Ashes, fire that can be handled ; or perhaps that which remains of the fire that was

covered, smothered; — Phonetic series 210.

Kung2 The a r m ; See L. 38 H. — Phonetic series 69.

Pu4. Linen, cloth. In this character, is not ,but fu (L. 3 G) contracted, phonetic. See L. 5 G.

Phonetic series 152. 4 3 —

130 7

7

Etymological Lessons. 4 .

LESSON 4 .

A About the two hands. The simplification of this character, in the modern writing, made many compounds quite unintelligible. See the examples given below, and you may verify the remark. Any signs are good to replace ;

etc. Kung3. The two hands joined and held up, as when presenting a thing:

It is the 55th radical.

First series.

Tsun1. To ofter a w i n e vessel that was held with both hands;

s changed into The scribe . See, L. 40 E, the o r ig in of t h e modern chuan-chu, noble, high, eminent. — Phonet ic series 713.

P i n g 1 . Arms, soldiers; Two hands brandishing an axe (L. 128).

C h i e h 4 . To daun t , to forbid wi th threats; Two hands ho ld ing a halberd (L. 71) —


L u n g 4 , neng4. Two h a n d s playing wi th a jade ball (L. 83); To hand le , to make.

Hsuan. To calculate. It has nothing in common with lung4. It is a different writing of


, below G, the representation of the abacus being instead of

Chu4. To heap up, to hoard up, to prepare. The is contracted into .Two hands heaping up cowries ( L. 161), the money of the ancients;


Hsuan4 To calculate, to plan. It has no th ing in common with chu4; Two hands manipulating the Chinese abacus (a pr imit ive) made of bamboo. Compare above F. — Phonetic series 7 the radical being placed at the

bottom, 80,

etc.

Etymological Lessons 47. 131

Pi en4. Hat ; On the tup, t he h two hands , th e used in covering o

at , a pr imi t ive form. At the bottom,e r i t ua l r equ i r ing both hands to b

r uncovering oneself. The form is u modern

Yen3, To cover,

contraction. — Phonetic series 78.

T

the han o jo in ds, inorder to cover something; —


Second series. In the modern writing, the hands are often mixed up with the object which they hold. Among these compounds, that are now unrecognisable, some are very important. The two following, J and K, are to be carefully distinguished.

Cheng4. Fire that can be handled, embers, live coal, lit. grain of fire;

Compare , L. 46 I. It forms

Gheng4. To caulk the seams of a boat ( for L 66); or rather, to curve with fire

planks to build al is

a hu l l . — Phonetic, series 511, in which the radic inserted at the bottom of etc. — From the year B. C. 221, was used (chia- chieh) to write the personal pronoun chen by which the E m p e r o r des ignated h i m s e l f .

4Chuan . To pick and sort (L. 123) with the hands, to choose the best. The top Is not (L 2). — Phonetic se

dical is plac d at the bottom. 12 ries 191, in which the ra-

e , etc. Note the derivative

Chuan4. A deed sealed L. 55 B), a roll, aor division of

scroll, a section a work; is honetic series 350. phonetic. — P

132 7 Etymological Lessons. 4 .

Third series:

This is another series formed hy the hands mixed up with the object whichthey hold. Though the object is not the same in the ancient characters, the modern contraction

is the same. The radical is at the bottom.

Penhan

g4. To hold up (or to receive) respectfully in both ds, as required by the ritual;

Note that at the bottom, has only two transversal strokes, as in the ancient character (L. 48). says the Glose, represents the action of presenting something, while the two hands represent the r i tual reverence. —. Phonetic series 354.

Tsou4. To i n f o r m , a m e m o r a n du m . To present one's Self (L. 60 V) before a superior, and to offer to him one's advice; The (L. 78 A) is symbolic, — Phonet ic series 482.

Ch'ung 1. To bark the gra in by pounding it. Two hands tha t raise up the pestle

(L. 130), above the mortal (L. 139); women wereo be conf

According to the Glose, the. gu i l ty condemned to this hard work. Not t ounded with , below P. — Phonetic series 606. The composition of the next is analogous.

Ch'in2. A kind of rice, cul- tivated in the. Wei valley; then the name of this valley, and las- t ly of the Ch'in Dynasty. The

character represents the barking of thi s rice. — Phonetic series 522.

Tai4 A man, who struggles, in water; flooded river, inundat ion. Hence the derived notion, vast , wide-spreading. The modern character is a strange contraction.

Ch'un1. Spring. Here the modern ifferent meaning from th f the preceding charactutburst

has a quite d at o ers. O of the. plants , u n d e r the influence f

e s o

th u n , at the b e g i n n i n g of the year. See L. 79 A. — Phonetic series 436.


Fourth scries. Other mo d er n c o n t r a c t i o n s of Kung 4 Generally, all , altogether. Action in common

, symbolised, in the old character; byhands joined together, and in the more, recent form, by twenty

four

pairs of hands; See L. 74 C. — Phonetic series 225.

Note : L. 22 D, has nothing in common with The same may be said of the two following acters, R and S

I4. To disagree, discord, variance, difference, hetero- dox. Two hands

char

, thrust aside the earnest money, f rom t h e s

parties domall table, upon which it was

l a id down; the not want to conclude, they disagree. Compare t

he agreement, L. 40 C. —


Pao4. i n so la t io n , exposure to the s u n ; to sp r e ado u t t h e g r a i n

. w h e n the sun is r isen . By

ex tens ion , a n y intense, violent action or influence. — Phonet i c series 809.

F i f t h series. Other m o d e r n contractions of

Sai1 To wal l i n , to block u p , to shut up . An empty place is filed with bricks, or other materials, t h a t are i n t roduced he by t hands. It is now written

whi

. — Ph one t i c series 530. The top of the compounds, ch now resembles the top of the derivatives f r o m

(be low U), was different from them in the old writing.

H a n 2 . Cold; A poor m a n , who t ries to

protect h i m se l f f rom frost, (L. 17 A), in his shel te r , by b u r y i n g himself in straw. — Phonetic

series 530, in w h i c h the top is ame as in the de- r ivatives from sai1 ( a b o v e T)

the s; gives room to the

radical, v.g. Gh'ien5 To go lame;


Sixth series. Other modern contractions of Ch'eng2. To aid, to second; a deputy, a minister

Two hands holding a , the official i er (See L. 55 A, B). Asceptre, to mean the min st

mountain represents the prisays the Glose, mo u n t a i n mIn the modern character,

nce who is assisted; for, eans eminence, dignity.

flattened was changed the phonetic, compound

Cheng1. To steam, to

into —. It forms

boil; — Phonetic series

510. Note also Chin3. The symbolical wedding cup, two halves of a same gourd.

Ch'eng2. To present,

Sec (above L), the composition and meaning of whi ch are ne a r ly identical; instead of , there is

represent ing any object whatever.

S ev e nt h series: In the two f o l l o w i n g cha rac te r s , represents t he claws of a scorpion.

Ch'ai4. A scorpion represented by its claws, head and tail;

er The legs being added, this

charactbecame

W . Scorpionan4 ; This character now means chia-chieh a myriad. See the Introduction, p. 11, and L. 23 H. Phonetic series 765.

Eighth series: the hands diverging.

n who exerts h i m s e l f tand on the le

P'an1. To discard. Gesture of a mao separate, to repel obstacles, on the r ight

f t . h a p p y one. It forms

ellis, obtacle, to stop

The modern abbre- v ia t ion is an u nFan2. Hedge, tr ;

The hands t ry ing in vain to separate the interlaced branches of a

801, in which the radical is adhedge ( L. 39 L). —

Phonetic series ded at the bottom, , etc.


LESSON 48. About , a special form of the hand.

Shou3. is the hand seen half face; is the

hand (palm) seen fu l l face; The, small in the, ancient form, represents the lines of the

. Now h a n d or . — It is t hacters r e l a t i ng to the h a n d . See

e 64t h r a d i c a l of char L. 11 E, a n d note the followi

Shih1. To lose, to let

ng,

fall f rom the hand; See L. 9 A. The a n -

c i e n t c h a r a c t e r is h a r d l y r e c o g n i s a b l e in i t s m o d e r n form. — Phonetic series 155.

4 ga d c a r e f u l l y . A hanK'an . To look at, to re r d covering an eye; For, says the Glose, in o r de

he rays of the sunr to see well , one shades t h e eye

with the hand, that stops t ; Compare

Che2. She2. To

L. 37 F.

c u t , to break , to burst ; A

hand holding an axe ; This is a mistake of Li-ssu. The old character represented an axe. and the two parts of a c u t branch; — Phonetic series 252.

Pai4. To honour, to reverence. Two hands that are held down; See .an

ancient form of , L. 5 B.

LESSON 49

About the hand, not raised up, but prone.

ht hand, prone, leaning on the palm By extension, paw, claw;

Chao3. The rig It

meaning, in the compis the 87th radical. Phonetiits ounds, the n o r ma l position of

c series 39. On accaund of

is on the top of the compound: : , contracted form in the modern

U l l

wri t ing .


s'ai3. To pluck, wi th the t ip of the fingers, upon T a tree, a /lower or a f ru i t ;

Now . — Phonetic series 402.

Lueh4. To draw, to stretch between f ingers ; Two hands a n d ; — re-

presents t h e st retching. Compare below D, E. — Pho- ne t i c series 292,

Cto

heng1. To p u l l in different d i rec t ions; to quar re l , light. Two h a n d s , and t h e p r i m i t i v e (

t hL. 8)

a t means , to p u l l ; that pu l l i ng brings quarrelsThe Glose e x p l a i n s

— Phonet ic series 324.

P'iao3. To pass an object downwards, from oo

ne's wn hand, to another's;

it forms

Shou4. To gi v e or to receive, from hand to hand, to confine i n t o a recipent;

T h e r e f o r e is t h a t w h i c h r em ains f r o m

e n t ters

ch

L. 66. One may fol low, in t h e a n c icharac , the successive, al terat ions of this element. The aracter represents a lading ; a hand , on the bank, delivers the goods; another , i

moe chua

n the boat, receives a n d stows them away. The dern abstract meanings, to receive, to endure, ar n-chu. — Phonet ic series 39'2. Note t h a t ai4 (L. 99 F) has n o t h i n g in c o m m o n w i t h

Yuan2. A traction equal on both sides; action nd a reaction, (L. 115 B contracted) annulling

eac her ; eq um, pause, halt. — Phonetic series 505

Y

h ot uilibri.

in3 . To enjoy the result of the work of one's ands h of one's toil, of that which

one has gathered; a life secure and free from care;

It forms , peace of heart , the man who has what he needs, and who desires nothing else; now . — Phonetic series 794.


Weil. Female monkey, (Compare L. 23 E). One on the, top, and two others mingled at the bottom cause, says the Glose, among all the animals, t emale monk is the most prone to claw ;

; behe f ey

The middle is intended to represent le monkey. This body is compo- the. body of the. fema

sed of man ( o nof a coarse represen

account of the resemblance), and tation of the breasts (to signify

the female). This last element is a primit ive (See L 67 0) — That is all pure f u n . The anc ien t

charac ter represented a hand carding textile fibres. — Now chuan-chu to do, chia-chieh to be; for, in or via honetic series 717.

al t . A hand

der to, etc. Note the modern usual abbre tion. — P

Yin4. A se , to seal, to pr in , bolding a piece of jade

downw, the seal of office. (L. 55 B; L. 47 V, W),

and using it ards;

elements, insteadIn the modern character, the two

of overlying each other, are in uxtaposition, which is illogical. — The following is j

inverted.

I4. The. contrary idea: stamp, pressure, to compress (posi t ive -nega t ive , c o m p a r e L 30 C);

The hand added further, is a redundancy of radicals. Then lost one stroke,

LESSON 50.

About the two hands lowered, the inver t of , L. 47

C king downwards; hui2 Hands lowered, giving or ta There are numerous compounds.

Note that The modern writers and engravers often draw , which makes the compounds unintelligible, and changes the number of strokes.

d rKuan4 To wash ones han s. Wate poured upon the hands, over a vessel;


First series: and its derivatives.

Shen1. Ancient form: two hands extending a rope; idea of extension, of expansion. Later on, the rope straightened by the scribes was interpreted as being a man standing, who girds himself wi th both hands;

The oldest forms were pr imit ives , figuring the alternate expansion of the two na tu ra l powers. — Phonetic series 153. It forms the fol lowing.

Tien4. Lightning, thunderbolt, the expansion (dis- charge) towards the earth, of a .stormy cloud, la the modern character, the l ine is curved towards he right, in order to take less room. The Glose

explains the nature of a thunderbolt as follows:t

The ch'i4

yang2, the male power, rushing on the earth, lights with the ch'i4 yin1, the female power, which gives b i r t h to the lightning. Thus the Chinese, twenty c e n t u r i e s be fore F r a n k l i n .

Yen3. A stri

m a n ( L. 60) who stretches his legs and covers a de's length; by extension, to rover ;

— Phonetic scries 418.

I4. To stretch , to p u l l in a d i rec t ion ; See L. 8 A. Now . — Phonetic

series 213.

Yiu2. To stretch , to p u l l in another direction; See L. 8 B Now . —


Ch'en2. Name of a place. The f i r s t Capi t a l , the first seat ot a dmi n i s t r a t i o n of China, u n d e r Fu-hsi (See our Textes Hisloriques, p. 19). From L. 119, cu t t i n gdown of trees;

L. 86, building walls; exerci-

sing authority. The vertical lines of and of are joined. Derived notions of antiquity, of a long duration,

to dispose, to fit up, etc. It has n o t h i n g in common with , L. 120 K. Compare L. 12 0

.

Etymological Lessons.

Second series:

50 139

and its de r iva t i ve s

Yu2. To lift up. many hands drawing or pushing;

It forms compounds, in which the radical is inserted on the top, between the two ; v.g.

Yu2. A heavy car (L. 167), a roller drawn or pushed with much trouble.

Yu3 To give. See and the analysis of . L. 5*H. — Phonetic series 768, in which the radical is added at the bottom, between the two

; v.g.

Chu To raise;3.

Hsing1. To lift up , several men acting together; Not to he confounded the derivatives of with

(L. 151) , etc. f coope-

rat io . Chuan-chu, animation, success, the results o

n a n d concord; to be in dem and , fash ionable

Third series: and its derivatives

Hsiao2 To learn. Was explained L. 39 1. When the hands of the master act downwards, thdarkness that c the mind of the i e

e overs disc pl

is dispelled. — Phonetic series 733. giving place to the radical.

Fourth series: and its derivatives. Yao1. This compound represents a head and two

hands. It means sometimes, head and hands; and sometimes, head and shoulders, the bust. It forms

that are important, but unrecognisable in the mode

compounds m form, on account of the fusion of different

elements.


Yao1. The loins, t h e waist; A head . t he two hands , t ha t

s u r r o u n d a woman' s figure . women t a k i n g care of h e i r waist th a n men . The a n c i e n t forms represented

a h u m a n face, a n d two h a n d s g i r d i n g t h e wa i s t

more t

; To

mean , loins, waist , t h i s cha rac t e r is n o w wr i t t en The a n c i e n t charac ter n o w m e a n s chia-chieh, to w a n t , to need, to a sk for, etc. — P h o n e t i c series 493.

P'iao4. Ign i s fa tuus (vul g o n t h e top

phantom-fire) The Chinese f e a r t h e m . O , t h e bust of t h e hobgoblin. At t h e bo t tom, the flame t ha t takes the place of t he body's l o w e r p n t h e m i d d l e , a r t I t h e waist . The m ode rn m e a n i f t h i s character, warrant , a b i l l , a r e chuan-chu ( t h i n g s t h a t a eared). — Phonetic, series (642. K'ang-hsi who m i g h t rightly c lass i f i ed

n g s o a re f

have u n d e r , placed it unde r ,

w h ich is a m i s t a k u t I b i th e worst ins ta a n d shows how a l l his c lass i f ica t ions a re arbitrary awi thout founda t ion: instead of classifying

e . B s is nce ,nd

under . as he d i d f o r , be c lassi f ied it u n d e r (113th c a l ) , w i t h h it has n o t h i n g in com , I h e

charac te r at t h e bo t tom bei n g r a d i w h i c mon

(86th ra l ) .

C h ' i e n 1 To rise by c l i m b i n g u p . The bead

dica

a n d four bands. The idea is probably taken from t h e ( q u a d r u m a n a ) . By e x t e n s i o n , to rise up, to way , p r o m o t i o n . The m ode r n fo rm was a d d an

m o n k e y sm a k e hea d

e d w i t h official s ea l , wh i c h means p r om ot ion in t h e h i h e seal b e i n g t h e badge Of the r a n k . e r a r c h y , t

N o w , to be p r o m o t e d . See L. "25 I , t he Immortal t he m e n who rose above h a n

cond

Nung2 The h u s b a n d m a n ;

s, the u mition.

A head two h a n d s . a n d t h e b r e a k ot t h e day c on t r ac - ted g i v i n g place to .

k beThe o i a n who works f r o m

early dawn: a l l f i e l d - wo r ing done very ear ly in ho t coun t r i e s — P h o n e t i c series 751.

Note: has nothing in common with ch'u1 L. 51 B, l i 3 L 97 B, ts'ao2

L. 120 K. Neither of the last two are derived fr mo

Etymological Lessons.. 51. 52. 141

LESSON 51.

About two primitives, which were united on account of their resemblance in the old writing, fang1 and ch'u1.

First series: fang1.

Fang1. The p r imi t ive wooden vessel, a log ho l lowed ou t ;

zon ta l ly . By extension,The charac ter is wri t ten

hor i chest , t r u n k , box. —It is the 22th radica l . To be distinguished from the 23th r a d i c a l (L. 10 B ) ; the, two are much a l ike . It forms.

t he first handicraf t , w ng the wood w i t h an

Chiang 4 . The pr imi t ive a r t , w h i c h consisted in ho l lo i axe, to make the vessels; c a rpen t ry ;

a ca rpen te r ; then, by extension, craf t , art, in general.

Second series: ch'u1

roc

.

Ch'u1 . Represents a piece of wood t h a t is bent. It was la ter on replaced by fang1 ( ab o ve A) raised up. By extension, curved, c oked, oblique, not straight. — Phonet i series 190. But li3 L. 97 B, nung2

L. 50 Q, ts'ao2 L. 120 K, are not der ived from

LESSON 52

About the primitive

Tao1. Edge-tool, knife, sword; h a n d l e is curved, to take less room. The upper hook belongs to the handle, the lower hook is the edge. See page 365 the primitive instrument, of silex, fixed into a curved handle of wood. — Note the contracted form of this character, when it is placed on the side. It

The

is the 18th radical of characters relating to cutting, etc.

This character is not found in the old dictionaries. It is considered as a different writ ing of

It Is read tiao1, and means, perverse, caballing.


Jen. Edged weapons, the edge, sharp, pointed: The character represents a

sword wi th a dot on the blade, to ind ica te the place

It forms Jen3. To bear, to sustain;

where the i n s t rumen t cuts. — Phonetic series 21.

From heart and a cutt ing weapon. The

hea r t wounded .

L i a n g 2 C u t t i n g w e a p o n e a p

f i x e d in t h e notch it m a d e , a c t i o n of a c u t t i n g w o n ;

It is f o u n d in Lia— foot-bri

ng2. P r i m i t i v e l y , a narrow dge, made wi th two

trees placed over a brook Later on, a tree, harked and planed, placed r ove a brook. Then, by extension, a beam, a sleeper. It forms by

s u b s t i t u t i n g to , the character liang2, sorghum.

Chao4. Pr imi t ive m e a n i n g ,

, to j ud ge accor- d ing to the Chinese way, viz. to chide and to make some amputat ion. e the s imilar composition of

Compar and , y extension, to

cite, to sen all. t i c series 105

according to r a n k or r u l e

L. 39 E. Bd for, to c — Phone

Lieh4. To d iv ide seriatim, to arrange, to place

; See L. 12 F. — Phonetic series 228.

Tsai2. Law, rule to be, observed; and the penalties of old, f ines a n d mu t i l a t i ons ;

C h u a n - c h u , c onse quen t ly . — P h o n e t i c series 4 8 1 ,

Tsei2. In its modern form, this character migh t be taken for a derivative of (L This is not so. It is composed of

. 71 0). a halberd, a sword,

cowries, To plunder with arms in hand ; robbery derives not from; a bandit. It


Li*. To cut

52. 53 143

the corn ; reaping-hook; hence, sharp, acute; Cbuan-chu, the harvest, the hence, gain», profit, intere m was composed

acquisition of the year;st on money. — An old for

of , and (he

L. 101) representing the motion of the sickle. In t corresponding modern form, lost

one stroke, as it may be seen above,. — The, two fo rms are found in - pounds, the old one being used spec y when

the comiall is placed on the top of the

compound, as in This last character is composed of and , the 202th radical. The of the radical, and of the phonetic, are mingled together. — Phonetic seri

See

es 288.

L. 18 B, L. 16 B, etc. Do not mistake for , the contracted, e.g. in . See the whole Lesson 28.—

However has somet s, but seldom, this form ee ime . S L. 55 G.

repeated three times is found in

Li4. .Nephelium li-chih , the frui t so dear to he Chinese. The. sound t li4 (L. 53) induced the

scribes to write , th aking one more wrong aracter.

LESSON 53.

About the primitiv

us mch

e Li4. Sinew; by extension, strength;

The lop of the m take less room. The two side-lines and the transversal

sradical of characters relating to effort y kind. It

forms

Lueh3. I n f i r m , feeble; from

iddle-line (the sinew) is curved, to

troke represent the fibrous sheath. — It is the 19th of an

strength and few:

Nan2. The man, by opposition to the woman, the male. The one who exerts his strength in the woof the

rk field, the woman bein busy at home;g

Compare L. 135 C.


the sinews to the

Chia1. To add month,

violence to persuasion; By extension, to add to, to increase, to insist, to inflict, etc. — Phonetic series 108.

See L. i'O E; L. 38 F; L. 90 A.

Hsieh2. Action in common, represented by the union of the

eratiostrength of three persons; union, concord,

coop n; Compare L. 47 Q. — Phonetic series 20t It forms eh2. Union, ten Hsi persons, i. e. a multitude,

joining their efforts; See L. 24. Hsieh2. The sides of the chest Perfect cooperation of the ribs;

LESSON 54.

In the first part of this Lesson, a particular form of the primitive (L. 25) will be studied. The second part is devoted to the primitives the compounds of which resemble those of in the. modern writing.

First part.

Pao1 . A man who bends to enfold an object; To wrap up, to envelop,

to contain; a bundle, a whole. — It is the 20th radical of characters relating to wrapping and enclosing. Note that in a few modern characters, is written like ( 14 th radical); vg. (L. 167 C), (L. 69 G), etc. The following compounds form important groups.

Pao1. Actual meaning: to wrap up, to contain, in general. Primitive meaning: gestation, the foetus inwrapped in the womb;

Compare L. 30 B. — Phonetic series 145.

T'ao2. A furnace for burning (L. 130C)

earthen ware; — Phonetic series 396.


Chu2. A bandful , to grasp. Primitive meaning: the quan t i ty of

145

grains that can he grasped by a hand; Now — Phon

Yun2. To divide

etic series 346.

a whole , into parts supposed o be equal; uniform repartition; regularity, equality; t

— Phonetic series 98. It is contracted in the two following

Hsun2. A period of ten days; — Phonetic series 209.

Hung1. The noise of a crowd; — Phonetic series 453.

It seems rather that these two characters are derived direct ly from , and not from contracted. — H : asun2 whole , . — a period of ten days Hung whole 1: a

, u n i o n of a voices. See L. 38 D; L. 10 G; L. 54 G; !. 17 G, etc.

Second series:

C h i u 1 . A p r i m i t i v e , i n tended to represent the tangle of creeping plants; By extension, cu rve series 5. In the

d , crooked, entangled. — Phonetic modern writing, is sometimes re-

placed by e.g. for ; it licence. From is a , a n d not f r o m , comes

Kou1. Curved, crooked, hook; he form is a modern abbreviation; T

is also read Chu4. A sentence; because, in the Chinese composi- tions, the end of each sentence, the pause, is indicated, when it is so, by a hook, which is the equivalent

of the. European punctuation ;

Phonetic series 131, in which are found the two kou and chu. sounds (L. 32 F) has nothing in

common with


Note: The following, chi4, conies from , a n d not from . It must becarefully distinguished from

kou3 ( under the 140th radical ).

Chi4. To restrain one's self, self-possession, deferential reserve. Etymologically, to restrain one's mouth, and to stand quiet (L. 103 C);

It forms

Ching4. Deferential behaviour, reverence, reserve, modestyin the presence of the

a u t h o r i t y ( t h e h a n d h o l d i n g the rod, L. 4 D). — 3

repare, to make ing

P h o ne t i c series 192.

Pei4. Pi4. To pr e a d y a l l t h e t h s necessary, wi th modefor women, on wprepara t ions ,

ou s eh o ld . The

sty. This is m e a n t h o m devolve the

t he care of the h is contracted,

g i v i n g room to . Now . The engraverss t rangely altered t h i s character. Some specimens of t h e i r sk i l f u lnes s m a y be seen here :

Shao2 A p r i m i t i v e r ep re sen t ing a k i n d of spoon, t h a t was used to d r a w u p ; — (L. 1, 4 ° ) represents the contents; — Phonetic series 27. It f o rm s

Yu3. T h e f u l l spoon., with an — i n d e x meaning t h a t it is b e i n g e m p t i e d ( c o m p a r e L. 1, 5°). To give ( t h e c on te n t s ) ; This character became intr icate in course of t ime . T h e two h a n d s of the receiver were fi rs t added (L. 47 ) . Then, on t h e top, t he two h a n d s of t h e g i v e r (L. 50). U n d e r this last form,

makes the phone t i c series 768, the radical being added at the bottom. See L. 50 J.


Shu3. A primitive, that has nothing in common, ei ther with

54. 55. 147

, or w i t h ., t he h

end

It represents a silk-worm moving on. On the top ead. The c u r v e d l ine represents the body that b s and stretches. At the bottom (L radical, was added later on. 110), ;

Phonetic series 756. It forms

Shu2. The. tai l (L. 100 B), tha t wriggle; at the extremity of the body. By extension, appendix, to stick to (as the tail to the hody), to depend from. — Phonetic series 856.

LESSON 55

About three pr imit ives ch'ing1, han3 , pa1.

First series: ch'ing1.

Ch' ing 1 . In anc ien t t i m e s the E m p e r o e , when investing the feudatories or off ic ia ls , h a n d ed o ve r to h e m o n e h a l f ot a piece of wood or of j a d e d i v e r s e l y

c u t ou t ; t h e o t h e r h a l f was used to m a k e the proof, as the modern coun te r fo i l The two pieces gathered are the

t

ch'ing1. We s h a l l see f u r t h e r (L 55 B, I) and ,appeared b

the. two ha lves , l e f t and r ight . . . When they efore t h e Emperor , or when th e y he ld t h e

func t i ons of t h e i r office, t h e feudator ies or officials had this k i n d of scep t re in t he i r h a n d s It was u sed also as a seal. — It forms

Ch' ing2. This character first meant the feasts (L. 26 M) of the. court, the high personag tending, ranged in.

es at two opposite rows. By exten , minis-

ters, high als sion

of f ic i

Note: The modern form is not symmetr ica l , because the wr i t i ng -b rush cannot trace, the left h a l f against the grain. Note also that many symmetrical representations, absolutely different in the old writing, nowadays ressemble ch'ing1. K'ang-hsi classified them under .These are nang2, L. 26 G; mao3, L. 129 L); luan3, L. 108 D; yu3, L. 129 E.


Chieh2. t of The right h a l f par , the one commit- a t was used by h i m as a ted to the fu nc t iona ry , t h

badge a n d as a seal; , By extension,

a whole, segment, f r a g m e nL. 47 V, W; L. 49 I. It is t h e 26Note the three dform. The first must be

d ign i ty , author i ty , ru le , jus t measure, p r i n t ; part of t . — See L. 26 M; L. 64 D; tb rad ica l .

ifferent w r i t i n g s of the modern d i s t i n g u i s h e d f r o m , a con-

nd f o r m is h a r d l y recogni- tracted form of the 16 3 th a n d 170th radicals — The secosable from the cursive form of han3 (L. 55 K); as w e l l as f r o m chis(L. 84),

i 3 (L . 85 B), ssu4 (L. 85 A . K'ang-hsi did not succeed in di inguishing e m ; he c o u n t d sometimes

) stt h e two strokes, a n d at o t h e r s t h r e e strokes. — The t h i r d form is to be d i s t i n g u i s h e d f r o m pa1 (L 55 L . — In a l l t h i s serieit is q u i t e impossible, w i t h o u t recur r ing to t e old forms, to k n o w exactly whie lement is used.

) s, h ch

Fu2. The h a n d h o l d i n g a sceptre; to impose one's authori ty; It forms

f u 2 , to steer a boat (L. 66 C ) ; a n d pao4, to repress bandits (L. 102 G). But na not derived f r o m

n3 is; see L. 43 ,J.

C h i h 1 . A vessel t h a t was u ed, in t h e feasts, for pouring wine with measure; The t o p t h a t sembles res L. 30 A. is intended to r ep re se n t the vessel, a k i n d of s iphon.

FEI2. Fleshy , m u s c u l a r , j u s t as m u c h as it is proper, for the sacrifices, for the le. The just measure of flesh ;

tab

She4. The b lush of the h u m a n face, a m a r k of t he passions. By ion, colour, passion, lust.

he e x p l a n a t i o n s g iven L. 28 D. — It is the 139th ical . The following' is not der ived from

extensSee trad

Chueh2. To cut (L. 52) a thread (L. 92), in pieces;

To cut, to cease, to leave, to renounce, etc. See the ancient form L. 90 E Has nothing in common with

the last


Two , with which the scribes made two (L. 87) , a re f o u n d in

Hsuan4-. To elect, to choose. Two

a seals of officials, placed

u p o n i t t ed t

hnd s

table. (L. 70), to be com m o those who were elected, c osen. Later on, t he two ha were added to

mean the awarding, the investiture. In the modern character, a n d joined together, gave , which has n o t h i n g in common w i t h k u n g 4 (L Q) 47 ;

This character is seldom Seen well wr i t t en — Pho- netic series 535.

T he l e f t h a l f of (L. 55 A ) ; It is f o u n d in i4, t h a t m e a n s , p r i n t i n g of t h e seal.

. See the explanation given L. 49 I

Second series: han3.

n3. To bud, to p u t f o r th buds , to bloorn. A p r imi t ive , representing the effort of t h e blooming, of the springing up

Ha

. Note the modern form, identical with the second form of (

Noteremain

L. 55 B ) ; hence co n fus ion s . — Phonetic series 6. the following compounds, in which there

s something of t h e p r i m i t i v e idea of , external manifestation of an inte r ior force, expansion, eruption.

Fan4. To rush l i ke a dog. To invade, to offend. Compare L. 37 B. In the symbolism of characters, the dog p a siderable, though not creditable part.

lays con

the lolled Han2. To withdraw tongue, and hold it in the mouth. Compare L. 102 C. By extension, to endure in silence. Note the awful mo bbreviation, whic came usual.— Phonetic series 356.

dern a h be

150 5.56. Etymological Lessons. 5

Yung3. Blooming , opening of flowers; yung4

(L. 109 B) is p h o n e t i c ; — Phone t ic series 320. It forms yung3, b ravery , cxercice of the manly vigour.

Yu2. To shoot branches, boughs. Not to be confounded with p'in2

(L. 58 C).

Third series: pa.

Pa1. A k ind of boa, large and short , f o u n d in the Southern Provincos, in Ssu-ch'uan and elsewhere. Its flesh is ea ten (

e boa ra), an d its sk in is used to

cover the guitars. The character represenls th ised on its t a i l ; Compare L 108 A. Not to he confounded with the third form of (L. 55

B). — Phonetic series 76. Note the c o m p o u n d pa1, a gui t a r made from a boa- skin ( L . 83 B).

LESSON 56.

About the pr imi t ive

Pu5, po3. To d i v i n e by l o o k i n g at the cracks in a evelops them. The charac-

ing longitudinal, tortoise-shell as the heat dter represents two cracks, one beand the othor transversal ;

— It is t h e 25 th r ad ical . P h o n e t i c series 9. It frorns

Chan1. To ask about some enterprise, by singeing a tortoise she l l ; d i v i n a t i o n ;

r N o t to be con founded with chi1, m a d e w i t h the same e l e m e n t s ; and synonym. — Phone t i c ser ies 104

Cheng1. The salary of a fortune-teller; a sum of cowries given to Ihe mm who singes the shell;

The answer received was considered as most certain, most firm, a n d most immutable, hence the derived meanings mmutabi l i ty , constancy, perseverauce in purpose generally, and specially in the. purpose of keeping continence

: i ;



Chao4. N ume r ous c s rack on a tortoise-shell ; In the middle, in its ancient form ; on

ks; the first left crack is w l stroke of

each side, two other cracconfounded ith the vertica . By exten-

a m i l l i o n - — Phonet ic series 178.

Kua4 T grams of the

sion, an omen, a number . now

he dia at, in the

I Ching, the Book of Muta t ions . It seems th beginning, the

f e hexagram which ding difficulty. Later on, people

the

she l l was first used to ind thmight resolve the penhad recourse , for that purpose, to m i l fo i l stalks The is n t kuio t represents an hexagram.

Wai4. Composed of

1 L. 81 B, b u— Phonetic series 369.

the evening, a n d to divine; When the she eam

t i o n ought to t ake place in the morning, or

ll was consul ted a b o u t the meaning of a drone. hart du r in g the n i g h t , t h e d i v i n a

d u r i n g the day, in any case before the evening. A f t e r sunset, the d i v i n a t i o n was no longer ad rem, being o u t s i d e h e ri tual l imits. Hence the chuan-chu meanin of this im p or t a n t character, outside, out of.

t g

Note: Like a l l the characters s i m p l e and easy to wri te, is used by the scribes m rd as an a rb i t r a ry abbrevia t ion for the most di f ferent ele ents. It represents a bi

in ( a n c i e n t f o r m ) L. 41 D; t h e a n t e n n a e of an insect L. 23 G; the pedunc l e ot a r u i t f L. 41 E; a rod L. 43 I). - Note also that ha no th ing in common w i t h

s; it a m o d e r n c o t r a c t i o n of is n L 47 H. — K'ang-hsi w r o n g l y place

severa among those abbrev i a t ions u n d e r d

l the 25th radical.

LESSON 57.

About two primitives. and

First part:T i n g 4 . A nail (head and tack). It is now written

Ting4, to na i l ; Is used, on account o

a numeral sign, forc

f its simplicity, as un i ty , and f o r other different chia-

hieh. - Phonetic series 11. — It forms the important compounds t'ing2, L. 75 B; a nd ch'eng2, L. 71 M. But ning2(L. 36 C) comes from (L. 58 A ) , a n d n o t f rom . Item,

(L. 63 B) has nothing in common with


Second part: Chu4. Storehouse, to warehouse. It is now written

. The old character

shows the storehouse, wem o d e r n c ha ra c t e r is a nonsense. Compare t h e p r i m i t i v e

ll dosed on all sides. The

(L.43 R) — P h o n e t i c series 116,

LESSON 58

About the pa r t i a l p r imi t i ve , a n d i t s de r iva t i ve s .

First series: Cso

h'iao3 D i f f i c u l t y on effort of the respiration, bbing, h i c cup , t h e b r e a t h f

oighting agains t an —

bstacle. See L. 1, 3°. P h o n e t i c series 3. It forms

Hao4 To l a m e n t , to h o w l ; the m o u t h u t t e r i n g shrieks; - Phonet ic series 122. It forms

Hao4. To call, to cry. The s trong voiced tiger enters into different

compounds that mean, cries, roars. It forms t'ao1, covetousness;

Pin2. To make out one's motives with cries nd noise; to quarrel , to reproof;a

See L. 151. Not to bi t h

e confounded w yu2, L. 55 K. — Phonetic series 300.

Hsi1. A sigh, a sound used to indicate a pause in e music, in the verses, in the sentences; a k i n d of

honetic punctuation;thp

It forms

Hu1. A sigh that passe the caesura, the pause. A par- icle of varied uses, interrogative, expletive, euphonic,

etc.

t

It forms Hui The roaring of the tiger. To cry, to call for. — Phonetic series 615.


Second series: Yu2. The breath havingspreads — in liberty.preposition; t

overcome the — obstacle, A particle of transition, a

alk, show; Phonetic

d e r its two forms. It makes

P

series 38, u n

'ing2. Compare w i t h L. 58 D; the top is different. is composed of a n d of (L. 18)

op lines, and reinforcing i ion on

placed between the two tthe dea of free expans both sides, on all

rived ; there no more obstacl

sides. The modern meaning, plane, even, is defrom the last idea is e;


K ua' , a1. Vanity boasting; man who makes a lf. — Phonetic series 221.

.

show of himse

Yu2 Invocations to obtain rain. — Phonetic series 662.

Third series: (L. 58 A) inverted

Ho1. A synonym of It is now obsolete. It forms the important

compound

sK'o3. To end forth a breathing of approbation. To be willing, to permit,

to consent, to admireTo express one's satisfaction.

; — Phonetic series 130. It form the following

sing, strange; that which Ch'i2. Extraordinary, surpriimpels men to utte

ation; r exclamations of surprise

and admir — Phonetic series 328.

1. It is Ko repeated twice; To sing Expressionsinging consisted probably ofexclamations of joy. This c

chieb) the appellative of an elder brother;

of satisfaction. The primitive a succession of cadenced

haracter became (chia-

See p. 11.


Note: Other compounds of and L. 30 D; L. 36 C; L. 13 F; L. 123 F; L. 135 F. — But L. 102 D, has n o t h i n g in common wi th . I tem

L. 1 D, does not come from

LESSON 59.

About the p r i m i t i v e a n d i t s de r iva t ives ,

First series: Han4. A c l i f f which projects, a stiff slope;

On the top, the summit ; on the l e f t side, the slope. in composition, the accessories

which should be represented on the clilf, are placed at the bottom, to make the compound smaller. This character represents two notions. I. If the top is considered, it suggests t he Idea of an elevated place near an abyss, dangerous, exposed to the view. 2. If the side is considered, it suggests the idea of a slide, of a fa l l . — It is the 27th radical.

Y'eh2. Sleep of a m o u n t a i n , covered with ear th ; r ising g r o u n d . — Ph o ne t i c series 413.

Yuan2. A spr int ; t h a t gushes out f rom a h i l l It is n o w w r i t t e n spr ing , w h i l e is used in t h eextended m e a n i n g of pr inciple , or igin,

For

, see, L. 125 F. In the p r i m i t i v e character , there were th ree . — Phonet i c series 588

Shih2. A piece of rock f a l l en down or t aken down from a c l i l f , rough-stone, shingle, pebble , stone;

Note t h e a l te ra t ion of in twri t ing . — It is t h e 112th radical of characters rela- t ing to stones. — Phonetic series 156.

he modern

Chai3- A m a n who, w h i l e c l imb in g up a s t i f f slope, bends forward. By extension, inclined, slanting, sloping; It forms chai4: the sun, leaning towards the horizon.— Inverted, becomes

Wan2. A man who tumbles down on a stiff slope, roll ing down. By extension, round, pellet, pill;


Yao4. Vis ib le f r o m afar, as a tree (L. 78) over a rock, standing out in relief against the sky;


Nan4. Stiff slope of a high mountain (L. 80).It forms

t'an4, charcoal, which is made in the

mountains, so cragged that wood cannot he taken away from them.

Wei3. A man (L 28), watching upon a rock, looking afar; It forms

Wei2. A m a n , u po n a rock, who restrains(L. 55 B) his motions, who takes care not to f a l l ; a perilous situation, danger, fear;


Chan1. Verbose, ta t t l ing ; to scatter i m p r u d e n t l y one's words (L. 73 C) wh ich is dangerous;


Hou2. In this character, has qui te another meaning. It represents a target and a m a n . An a r r o w (L. 131) is fixed in the target. The shoot ing at a target was used in an t iqu i ty , for the election of feudatories and officials. The. precision in shooting

as supposed to represent the uprightness of the heart, and vice-versa. Hence the derived meaning, aristocracy. Note the alteration of the character in the modern writ ing. The

w

on the top became ; became

- or ; was u n imp a i r ed . — Phonetic series 444. In the c o m p o u n d ,

the of was contracted in to a small vertical stroke.

Note: L 129 A, is u n c o n n e c t e d w i t h ; a n d so is , L. 61 [•'.

Second series: Yen3. Comp re a the hut , L. 36 A. is h a l f of a

t 53th radical. Seehut, a shed, a shop. — it is he L. 24 M, etc. It forms

K'u4. A shed for the chariots (L. 167); out-house, shop;

Note: keng1, k'ang1, fang2, yund

g1, are not erived from

e

Se

L. 102 B. — Item lu4, L. 136.

156 Etymological Lessons, 60.

LESSON 6O.

About the primitive and its derivatives. ln the ancient writing, has two forms, for which we reserve two distinct series. First series: the Drst form.

Ta4 A primitive. A grown up man standing (body, legs and arms); By extension, chuan-chu, the stature of an adul t (by opposition to the child's stature), great, tall; But in composition, means a man, and not great. — It is the 37th radical of miscellaneous characters. It forms

a man Yin1. To confine Compare , L. 25 B. It is now obsolete in that

sense, b u t is much used in the chnan-chu meanings, cause, reason, argument; that with which one confines, one catches one's opponent. — Phonetic series 249.

T'ien1. The heavens, the — firmament which is over men;

See L. 1 C. It forms the phonetic complexes

Tien3. To outrage; (L. 107). —Phonetic

series 389 T'un1. To gulp down.

(L. 72).

1s. The men armed with bows ; the prim tive

inhabitants, barbarians, borderers of the Eastern Sea, inhabitants of the South-West countries;

i


Compare shan» L. 13 B; chia1 L. 27 F; L. 88 B; L. 39 0; , L 10 I.

Sui1. Bird spreading its wings to fly, as the man stretches ou t his arms in the character

It is DOW obsolete, but forms the important compounds.

Etymological Lessons. 60. 157 To2. Chuan-chu, the modern mean ing is: to take by

violence, to seize, to carry off. Primitive meaning: to apprehend with the hand, a bird that flies,that is free. The

for is a modern subst i tut ion.

See L. 43 A.

Fen4. Chuan-chu, the modern meaning is: to excite, to arouse, to exert one's strength. The primitive meaning is: a bird flying upwards over the fields;

T'ao'. To advance, to move forward, to prosper rapidly, as the man who has past his tenthyear. Speedy growing. By extension, to enter, to go in gladly;

See tsou4, L. 47 SI. It forms

Kao1. Growing clearness ; light, f u l l day; Note the

n a l t e r e d forms m o d e r

Second series: the second for .

Ta4. Primitive sense: a man standing (head, a r m s

compare L. 60 A )

m

; and legs;It forms the important following compounds

Li . A man4 s tanding on the — ground (L. 1, 2°).

To stand; - It is the 117h radical of characters

position and posture. Phonetic series 134. d series, below L. It forms

relating toSee t h e th i r

4Wei . The place upon which a man stands

positionstraight;

, dignity, person;

n Yu1. Su risen. Light, day


I4. In its ancient form, thifirst series. Its modern form isecond. The primitiv m

s character belongs to the nduced to place it in the

e eaning is, the sides. A standing man, who e sides ars e indicated by two lines or dots; By extension, a contact,

tc. — Phonetic series 214. It forms

Yeh4. What is done by

conjunction, and, also, e

men, when the night comes; to lie down on the right side, in order

extension,

he c h a r a c t e r is a q u a i n t i n v e n t i o n of the scribes. — P h o ne t i c series 415.

to sleep Now, bythe night. The modern f o r m of t

Fu1. A g r o w n up m a n , wi th a p i n in his ha i r , to s ho w t h a t he is of a ge : the i r i l e cap is n o t r ep re - sented

v ;

— P h o n e t i c series 59.

Ya n g 1 . A m a n in t he m i d d l e of t h e space (L. 34 A). M i dchieh

d l e , cen t re . There a re d i f f e r e n t chia- — Phonetic

series 168

Third series: Mul t ip les of a n d of . Note t h e modern contract ions and confusions.

Ping*. Two or several men (L. 60 H) standing si n, etc.de by side; together, successio ;

Note the modem deformation. It forms

P'u3. Succession of the indefinite days, course of times,

generality, universali ty ubiquity. — Phonetic series 754

n

duration; then, by extension, ,

. T'i*. Successio in a prefixed order, after a list (L. 159

permutation, in t place of, instead o The si ly

); then, by extension, substitution,

he f. l scribes changed the two into two , and into


Pan4. Two men keeping together; It is f o u n d in

Nien3. Imperial car, drawn by men. It forms the phonetic

complex nien3, to drive away, to cast out.

Fourth series: In some modern characters, on the lop of the compoundis written

; v.g.

Ch'ih4 Composed of and (L. 126), both being contracted in the modern form;

The human lire, blextension, red colour. — It is t

ushing through anger. By he 155th radical. See

nan3 (L. 43 J), to blush through shame.

4T'a . A man , who feeds flocks; It forms

Taz To lead forward (L. By extension, a which one moves

s

112 E) flocks.large space in at ea e, as the sleppes,

; open way, c. — Phonetic series 76t. to attain, to prosper, et

P Note; Do not mistake for a ertain cover, similar to the first ancient form of

c , which is also written in the modern writing, e.g. in , etc. See

L. 38 F, G.


LESSON 61.

About t h e different m o d i f i c a t i o ns of (L . 6O): w i t h an appendix on t h e p r i m i t i v e First series: chai3.

Chai3. A man who bows the head behind. It is f o u n d in

Wu2. A man who bows t he head behind, to cry louder;

vociferate;to It became an important proper name. — Phonet ic

series 315. Note the strange alteration of the rnordern chara er. ct

yao .

Yao

1

ead f o r w a r d , in o rde r c h . By ex tens ion , to lean, to

ng ake. — Phonetic, ser

1 A m a n who b e n d s t h e hto r u n , to j u m p , to m a rto i n c l i n e , to ha , to rock, to sh

ies 92. On t h e top of the compounds, sometibecomes

mes in t h e modern w r i t i n g (as , L. 6 ,

f o u r t h er ies) , e.g. in 0

s hsing4 L. 102, a n d tsouL. 112,

3

ch ' iao 2 . 75 B. — No L te hsiao4, to l a u g h . E tymologica l ly , bamboos

Second series:

rocked by the w i n d ;

The spasmodic mot ion of t h e b e l l y , when a t a t Chinese is laughing.

Third series: 1.

Wang1 A man who puts his wei h

wang

g t on hisr i egght l , to m a k e an effort, a spr ing;

It is often wr i t ten , or (a p h o n e t i c be ing added). — It is the 43th

radical. It m us t b

e distinguished from yu (L. I34 C). It forms Wu2. A man who exerts h i m s e l f against an

obstacle, wi thout surmount ing it, unsuccessfulin v a i n By extens ion , negation, not, no. — It is th

1th radical , a fictitious one,

ly, e

7 for the whole series belongs to chi4, L. 99 E.


Fourth series: chiao1. Chiao1 A man who crosses his legs, who entwines between his legs; To jo in , to u n i t e , to have intercourse, etc. — Phonetic series 183.

Fifth series: k'ang4.

K'ang4. A man who putsstretched

his weight on both legs, apart , to make an effort;

Compare L. 61 C. Thshortened, to represent thaacts. Derived meanidestination, rebellio

e upper part of the body is t it is the lower part that

ngs: exaggerate firmness, n. — I'honetic series 67.

Appendix. wen2 has nothing in common w i t h Wewr

n2 A primitive. Lines that intercross, veins, inkles, ripples; sketch, literary, genteel, elegant;

—rel

Lin

It is the 67th radical of a few characters ating to ornamentation. Phonetic series 88. It forms

4. The wrinkles of an emaciated man, who s not doe eat enough; parsimony, stinginess.

Ch'ien2 The wr ink les c used by terror, in the sence of a

apre tiger; reverential awe. It is oftw r

en o n g l y w r i t t e n

. A whole of intricate, lines. To the thick liWen2 nes , are added finer lines (L. 62). It forms

Yen4. A collection of lines still more intricate; , and that has nothing in common with hart4

L. 59 A. The wrinkles of the old men's face. By tension, a venerable, person or aex ppearance. —


Ch'an3. The wri kles formed on the bonsequent upon child-birth

n dy co . Fecundity, to bear, to produce. — Phonetic series 592.


LESSON 62.

About the primitive , and its derivatives.

First series:

Shan1. Hair, feathers, lines, etc.

— It is the 59th radical of characters alluding to stripes. Phonetic series 26. It forms

Hsu1. Beard. The h

a hthe head 1 C

ir on the chin, beneat (L. 60 );

Now Men, in China, only allow thebeards to grow, when the t ime has come f o r t h e m to govern the i r f a m i l y , tomaster over i

ir be a

t. Hence the extended meanings : necessary, requisite, appoin ted time, etc.

ds, often confounded in the modern writing, are to be carefully distinguished :

Chen3. Hair

The two following compoun

of a man, says the Glose;

— Phonetic ies 106. ser

Shan1. A wing (L 22 A) provided with feathers; F l a p p i n g , v i b r a t i o n . It f o

Shenr m s

n

1. Ts'an1. The three starsin the m id d le of Orio . Theyare represented by three , of which is the modern abbreviation. The lower part represents the rays emitted.

Compare L. 79 F. — Phonetic series 652, under its modern form

es ofSecond series. Multipl and of . The Chinese ephilologists consid r,

as derivatives from , the two following, D and E. It seems ther as ra if there were ous to

f a young two other ways of representing a pair of wings, analog

Jao4. Slender, fragile, weak. The wings obird, with their first feathers; The skeleton of the wings resembles two bows, L. 87.

sented as torn out; the crook The two wings are repreon the top represents the extremity by which they were united to the body; in the modern writing, the crook at the bottom replaces one of the strokes of . — Phonetic series 540.


Yfe

u3. Another representation ot a pair of wings with athers; — I! is the 124th radical of e characters relating to plumes and feathers. onetic series 251. It forms many important com- unds We saw

thPhpo L 18 C; L 34 J ; note also

Liao4. To flutter, to rise while flying;

—

Ti2. A pheasant,


— Phonetic series 791. See t'iao4 and

ti2, L

H

78 E.

si4. To gather the wings ; union, harmony; — Phonetic series

68

Sh

1.

an4 The two sections of a folding-. 129);

door (L


LESSON 63.

About the primitive Ch'ih . To take a step forward w i t h t h e l e f t foot ;4

. By exlension, in composition: to walk. I— t is the 60th radical of characters re la t ing to wa lk ing . See the der iva t ive i4, L 22 D.

Inverted, gives Ch'u4. To fi sh the ni step, by br inging forward the right foot; nothing in common with

It has ting4, L. 57 A.

Both together, they form 2Hs ing . To march , composed of one step wi th

the lef t foot, joined to one step wi th the right; to slep;

he 144th radical of characters relating to motion. The phonetic is inserted in the middle; e.g.

— It is t

etc.


Yin3. It is lengthened, to represent long strides ; — It is the 54th

radical. To be d i s t i n g u i s he d from t h e 162th radica l , composed of a n d (See L. 112 E ) .

LESSON 64.

About the three primitives, hsi4, yueh4, feng4, p'eng2.

First series: hsi4. Hsi4. The evening, the be g i n n i n g o f n i g h t ; represented by t h e moon e m e r g i n g on t h e hor izon , t h e lower p a r t of the moon being s t i l l inv i s ib le . Compare t h e anc ie n t form of , w i t h t h a t of (L. 64 G ) ; t h e la t te r has one s t roke m or e ; — It is t h e 36th r adica l a n d forms

M in g 3 . The name, t he persona l a p p e l l a t i v e of a man, f rom month a n d eve n ing , because, at dusk, it is necessary to g i v e one's n a m e to be k n o w n ;

— Phonetic series 230

Sun

.

1. An evening meal, supper;

Yuan1. Decency, (L. 55 B) modesty dur ing night. It is not decent to lie like a corpse, says Confucius. Good behaviour, good hearing,

Compare L. 60 1. — Phonetic series 174. It forms

Wan3. Jn the house, good b e h a v io u r . To c o m p l y wi th

the demands of others; hence the derived meaning, to bend.

— Phonetic series 407,

To1. Two . meaning symbolically, reduplication, multiplication, multitude, many. The old character ( two nights) was used chia-chieh in this sense, on account of its simplicity; Compare 72 L, and 147 F note. - Phonetic series 239. It forms

Ety 5

I2

mological Lessons. 64. 16

. Idea of the good ordering of all the oc

bjects ontained in ;\ house, between the roof and the

ground. The unique is supposed to be

ntracted co . By extension, tit, right, harmonions, proper;

A mor simple explanation is at and: in the

— e h house, to sprea out, in good or-

er, the mats and bed cover ford

d night. Regular tir at night. We are indebted to the scribs es for ,

th 5e modern form. Compare pei4, L. 4 G. Other derivatives from : see wai4, L .56 F; yeh4 ,L. 60I; hsu4, L. 11 G,

meng4, L. 158 F; etc.

yueh4.

m ompletely visible (c

Second series:

Yueh4. The oon's crescent, compare hsi4, L. 64 A) ;

— It is the 74th radicathe. moon. rms

l of characters relating to It fo

Hsien3. From door and moon; the moonlight streaming in through the crackles of the door Interstice, idle, empty, leisure, and other chuan-chu;

The modern scribes o ften write incorrectly . Phonetic series 684.

Other derivatives from : see yu3, L 46 H; ming2, L. 4 C; 2 sho4, L. 102 D; wang1, L. 81 G; etc. But chao1 does not come from ; see L. 117 D.

Third series . Has nothing in common with yueh4.

the f a i l

e ot

To

he ancient character, a primitive, representsf the fabulous and felicitous bird Feng4, the

phoenix; by extension, the phoenix complete. Was the phoenix called P'eng2 in certain Provinces, or was the p'eng2 anoth r auspiciousbird? We do n know. Anyhow, two new characters were made: feng4, the phoenix; and

p'eng2 a monstrous bird, like the rakh or roc of Arabian story

166 Etymological Lessons. 64 65.

(according to European definitions).— From that time, is no more read feng4, and docs not mean phoenix It is read p'eng2, and means, friend, friendship; for, says the Glose, when the phoenix flies, it draws al l other birds af ter it, by sym- palhy; hence the idea of affection, friendship, association;

— Phonetic series 387. But does not come from ; see L. 156 H.

LESSON 65.

A b o u t the par t ia l p r i m i t i v e . See , L. 17, G, H, I, J . Note a lso that, in its contracted form is eas i ly c o n f o u n d e d w i t h yueh4 ( t h e moo n , L. 64 G ) , a n d w i t h for chou1 (boat , L. 66 A ) .

J u 4 . Jou 4 . Pieces of d r y m e a t ga thered inbund le ;

; meal smoke-dried in the old

f a s h i o n ; n o w , m e a t in gene r a l . See L. 17 G. — it is the 130th radical of a large group of characters re lat ing to m e a t a n d food . See L. 39 J, L, 18 J, L.94 E.

L. 46 D, L. 13 I, L l 2 2 C, etc. Note

chin1, the sinews; the parts of the flesh , elastic l i k e bamboo . t ha t g ive s t rength;

Chou4. Compare t h e composi t ion of t h i s char ac te r w i t h t h a t of , L. 18 J. Flesh c o m i n g from its principle; posterity, offspring. Do not c o n f o u n d this character w i t h he lmet , L. 34 J. The modern forms are ident ica l ; t h e ancient ones differ.

K'en3. The flesh , by opposi t ion to the ske le ton , (L . 118 A) The top of was a l r e a d y missing in the hsiao-chuan wr i t ing . The moder n scribes replaced it by a , which is a nonsense, k'en3 having nothingin common w i t h

(L 112 A ) ;

The flesh being soft and flexible relatively to the hones that are

tough and rigid, hence the derived meanings, to model one's self, to yield , to follow, to be easy tempered, to be incl ined, prone to. — Phonetic series 367, under its modern form.


I4. The antique dance. The panlomimists dancing on two ranks, hack-to-back (contracted into )o

Now It forms hsieh , which the scribes changed into4 Resting of dancers after the dance; they rece

m ll value, of little importance, insignificant

Yuan . Larvae

ived then small gifts. Hence the extended meaning, of s a .

4 fleshy without skeleton, that can double themselves up, like mosquito and ephemera

larvae, that swarm in summer, even in the wells;


Chien1. Shoulder; In the ancient characters, psm . The s

represents the whole of the ectoral and the scapulary muscles, the line that prings from them representing the arm. In the odern character, the shoulder-blade is outlined

cribes strangely contracted it into . It is uncon- ected with n L. 129 See L. 75 . K

Jan 2 . Meat of dog (L. 134); It rms fo

ed;Yen4. To be satiat To be glutted (c o hanged by the scribes int ), with meat of do w

g. This satiely seems to have been the ideal one. ent, in an ancient form, till belching

Ittook place

. 85 C). By extension, disgust, aversion. It is now placed in this sense, by the compound

(Lre yen4,

presenting the retreat from eating. Phonetic ser s3.

re 79

Jan3. To roast

ie

flesh of dog By extension, to o l t

roast, to burn, t ight. I is now also used, chia- chieh, as a conjunction, an adverbial particle, etc. -Phonetic series 691.


Chi4. Oblation, sacrifice; O ring ffe o meat f , tha t bring

es down

th influences from heaven (L. 3 D) — Phonetic series 595. — There is an analogous composition in teng1 (a vase in which

meat is offered). But wang4 is derived from yueh4, moon, and nofrom

t jou4. See L. 81 A.

LESSON 66. About the pr imit ive chou1. Us contracted form is to he distinguished from

yueh4, L. 64; an d from. jou4, L 65. Chou 1 . Canoe , vessel, boat of a n y sort. The first canoes, says the Glose, were trunks of trees hollowed out;

It represents a k i n d of canoe, s t r a igh tened , to t a k e less room. Turned up how, deck p r o p p e d up by a pivot t ha t represents the in te rna l wood-work; an oar on front, a he lm behind t h e boat , w h i c h is opened, to mean t h a t t h e he lm goes b eyond . — It is t h e 137th radical of characters r e l a t i n g to vessels. It forms

P a n 1 . To m a k e a boat move a l o n g , by repeated s t r o k e s of t h e o a r (L. 22 B) ;

The action of t he oars must he equal and regular; hence, the derived meanings, regular way, manner, equally. Do not c o n f o u n d th i s character w i t h ch'uan2, boat, L. 18E. — Phonetic series 555.

Fu2 To govern (L. 55 C) a boat, that obeys;

Chuan-chu, to obey, to yield to; mourning clothes as coarse as the clothes of sailors, clothes in general, etc. K'ang-hsi incorrectly classified , as well as (L. 47 J), u n d e r t h e 74 th rad ica l , the moon.

Ch'ien2. To advance, forward, before, formerly, etc. A boat advancing towards the harbour, where it

i l l w stop. The modern character , is a strangen v en t io n of a scribe;

i

— Phonetic series 431. Other charac ters d e r i v e d f r o m L. 47 J ; , L. 2 E; , L. 14 F;

L. 49 E; , L. 117 D.


LESSON 67.

About the primitive nu3.

First series: and its multiples. Nu3. A girl, , The character hsiao-chua

already a cursive modification of the ancient haracter, tha t was uneasy to write, on account of e. perfectly symmetrical lines. The right part was

ltered. —The ancient character represented the ritual earing of the Chinese women, the arms hanging own, and crossed over the body. The head was not presented. The shoulders, arms, chest and legs were utlined. Compare L. 67 0. — tt is the 38th radical of haracters relating to women. When meaning thou, ou,

n iscthabdreocy and are mere chia-chieh, adaptation of a

und. so

Hao3. Hao4. What is good, what one loves: wife and children. By extension, good, to love;

Nu2. Female slave. Women under the hand ofth

a master; a guil ty woman, condemned to pound e rice (see L. 47 N).


Ju2. To speak like a woman, with a womanly ill, in conformity with the circumstances, and thspositions of the man one desires to wheed

sk e di le. Ext rding toended meaning, as, like, acco .

— Phonetic series 216. h'iehC

accordin

4. Daughter of a culprit, reduced to servitude, g to the old way; by extension, a concubine;

(L. 102 E), —

T'


o3. Security, tranquillity. When the handfirm

ia ly placed upon women;

— Phonetic series 306. It forms s iu 1, a thread that attaches, that makes sure.

Nan1. Good order, peace. When the womewel

n are l enclosed in the house;



Yen4. Visit during the day, to the gyne- cium; siesta, mid-day nap; It forms yen4, recreation, feast, banquet; and the phonet ic c o m p o u n d

Yen3. To hide; (L. 10 B), — Phoneti

s. eries 495 Other derivatives from ; see

ch'i1, L. 44 G; yao1, L. 50 N; etc. tual slandering. For, says

choly, two women cannot be on good terms

Chien1. Quarrell ing, muthe Glose, not without melan

;

Chien1. Amours and iwomen; tra itorous, for, debauches women, is a t

ntrigues among and with says the Glose, a man who

ra i tor to his fellow-men;

Second series: wu2. A series is reserved to t h i s der ivat ive from because it forms a group. Note the malformat ion of the modern character.

Wu2. A woman placed u n d e r luck and key — (L. I, 3 ) f o r m i s be h av io u r . Prison of t h e guil ty women. Each pa lace had a p l ac e reserved for that purpose. The persons t h u s confined were utterly unemployed, and saw nobody. Hence t h e derived meanings, to avoid, to abstain, inut i l i ty , nothingness;

— It is the 80th rad ica l . Ai3. A man (24 C)

who behaves badly; or

debauchee ;w o r t h to be so: a cont ined,

Tu2. The poisonous vegetables tha t grow herea n d there, a n d t h a t must be

avoided; poison,

v e n o m ;

Lou2. Woman confined, enclosed in the prison of the gynec ium ; for ever idle; useless, etc;

— Phonetic seSh 3

ries 631. It forms u u4. Formerly, it . Sh

mean t to govern the con- , mean

count, a n u m b e r ;f i n e d women. Now it s, to

— Pbonetic series 812.

Etymological Lessons. 67. 68, 171

Third series: mu3. It is another derivative from , forming a group.

ecome a mother. This is t ion of two breasts to the

Mu3. A woman who has brepresented by the addicharacter . She suckles a chi ld , says the Glose;

Idea of fecundity, of multiplication

Mei

. — Phonetic series 139. It forms

ss3. Gra (L. 78), prolific; Th

every, each, is cbia-chieh. —e actual meaning of this character,

Phonetic series 294. It forms.

g n, thFan2. Luxuriant ve etatio e plants twis- t ing into a tangle; Now , on account of a mistake made by the scribes, says the Glose; Yu1. See L. 94 F.

SON 68.

LES

About the primitive chi4. An appendix is reserved for a few analogous forms.In the modern writing,

has different forms and is easily mistaken for the

hand (L. 44).

First series; chui4 and hu4.

Chi4. A primitive. It is intended to represent a boar's Or a hog s snout; wich is lifted up, is very rough. The top stroke represents the nose flattened. The bottom stroke represents the neck. The left stroke is a boar's tusk, the point being forward. — The hoar and the hog played a very important part in the Chinese hunting and cattle-breeding, therefore they gave birth to many characters. — It is the 58th radical of characters, mostly relating to swine. It is unconnected with the following.

The representation,

Hu4. A primitive. Represents the twisting of two or several strands, to make a rope;

By extension, reciprocity, relation, connectioncommunication.

,


Second series: Derivatives from chi4.

Chih4. Boar , wounded by an (131 A) arrow, under the neck, between the two (27 I, note 1)fore-legs; killed at the hunting. 1

2. Offerings to the manes of ancestors;

A boar's head, grain, silk, the whole being offered with

the hands,

I4. Boar, a bristle-covered animal. The head, the

bristles, the hind-legs and tail. Compare L. 23 C; It forms

We i4. Hui4. This character, utterly altered in the modern writing, first meant, the hedgehog, the snout of which resembles the hog's;

The animal is specified by (ancient form, L. 122 C) the stomach,on account of its extraordinary voracity. In the modern character, on the top

; then the two long bristles of the third ancient form; then for the ancient form of ; lastly for the hind-legs and tail of . To mean hedgehogthe character is now written

, ; while hui4 is used chuan-chu to mean

collection. The idea is taken from the collection of sharp points tha t cover the back of a hedgenog.

Appendix. According to their modern writing, the fou r following compounds seemingly come from ; but the two first ones are certainly not derived from it.

Lu4. To behead, to trim and to bark a tree (the stump being upright). On the top, an axe of a special form, the haft of which bends to the right; its action;

the tree — beheaded; four small strokes represent the branches and the bark cut. Now . — Phoneticseries 461. — The ancient character simply represented the cutting off the trunk, the branches falling on

both sides, and the shreds of the bark torn out. Compare L. 45 J.


Mha

ei4. A modification of the preceding The axe's ndle is not represented. Ancient form: a head of (L. 40 C) upon a t runk cut down. Now Spirit

of a ad free; supposed, to be ma gnde li ant;

The two following characters, of identical composition, head, and b

fa

selat

Shin i

ody of a hog, have probably been bricated in two different centres (see page 7).

They differ only by one stroke, the head being parated in the first, and joined with the rest in the ter.

ih3. Pig. The, scribes write it, as the following, ts derivative li3,

aw

T'mbr

SSON 69.

bristle-covered larvae that eat ay the tissues a nd the books.

uan3. Usual meaning, pig's bristles. Derived eaning, commentaries, accessories to the text as the istles are accessory to the pig. — Phonetic series 577.

LE

About the primitive shin3. An appendix wi l l treat abont hai4 and hsiang4.

Shih3. Boar, hog. The head is replaced by a l ine; on the left side, the belly a n d the paws; on the right side, the hack and the tail ;

It has many compounds, e. g. chu2, to drive or push out pigs, to expel in

general. — It is the 152th radical of characters mostly referring to swine.

Hun4. Inclosure of pigs, a sty, a privy: the pigs in Chirm eating fecal matters; — Phonetic series 538.

Chia1. Human dwelling, says the Glose. By extension, family.

The pigs live around the houses of the Chinese countrymen, and even enter in them, as well

dogs. The street-cleaning and privy-emptying o these two animals. — Phonetic series 516.

as the are left t


Chu4. To fight with rage, as a bit

oar that defends self against a tiger;

— Phonetic, series 731.

Tli

un2. A su c k i n g pig. It was offered in some sacri- ces, henre the ancient form, a pig, the

flesh of w h i c h is ottered. Compare chi4, . L 65 H.

Sui2. To partake (18) the pigs, in bands, in flocks: It forms

Sui2. A band of pigs marching, eir lender; hence, to

ral; following thfo l low in gene —

netiui4. Troops; garrison that

e

Pho c series 758. Tguards th walls. It forms the

pound phonetic com chui4, to fall,

Cho2. A p ig h a v i n g two feet t r ammel l ed ;

— Phonetic series 340 It f

Chun 3

orms

g . Tumulus, knoll, tomb, chia-chieh of an ancient character used in hunting;

Compare L 34 I. the com f position ohich is w

c series 527.

1

similar — Phoneti

*. Boar that attacks (L. 102 E); Bravery, heroism

nse, the compound. In this

se i4 is now used.

Shih3 and T uan3. See L. 68 H, I.


Pin1. A flock of pigs; two being taken for a multitude. It forms Pin1. A district in the mountains of Shensi, where boars formerly abounded.Hsien

3. To b u rn brush-wood, in order to drive out

the boars.

Appendix: hai4 and hsiang4.

Hai4. The hog (L. 69 A),he tail;

with one stroke added to t It is used, in the

time 9 to 11 p. m.. This ost propitious for the

ous different figures, that es a man and a woman

horary cycle, to designate the t ime, says the Glose, is the mconception. Hence numerrepresent two persons, sometim(L 670), under heaven (L. cooperating with the productibegetting chidren.

2 G ) , that is to say, ve action of heaven, by

— Phonet ic series 197.

t ive , representing the n imal - On the top, the

nting the tusks. The legs l i k e those of e

Hsiang4. Elephant. A pr imicharacterist ic parts of this at r u n k ; then a bow represeand tail look th pig.


LESSON 70

About two primitives, chi2 and chi1. The latter is to be distinguished from wu4 (L. 29 K) ; as well as f rom or at the bottom (LL. 18 a nd 47).

Chi2. Sieve, r iddle. It represents the object;

Chi2. Prop, stool; Both being combined form

Ch'i2. Sieve placed upon its support; T

the character has become chiapronoun;

he old utensil being no longer used, -chieh a demonstrative

— Phonetic series 327. Chi» is found in L. 156C; L. 41 G ; L. 40 ;C L. 55

H.


LESSON 71.

About the primitive i4. Special series are reserved for the important derivative ko1, and its numerous family.

First series: i4. I4. Primitive Some see, in thin the wal l , to suspend objewi th a th read ; others, sewas used to count, to mark, to ofor the understanding of this weapons were varied. Eachsentation. Later on, ma n y otheir characters were used fo

is figure, a hook driven cts; others see an arrow

e in it a fish or pin that rder, to decide. —Note

Lesson, that the ancient one had its own repre-

f them disappeared, and r other purposes. It is the

56th radical, and forms

Tai4. Order of suc ession,c substitution, of men, ; instead of, in place of; and by extension, of things

Phonetic series 161, N t to bo e confounded with fa1, L. 71 G.

hShi 4. Work done after indications, after a de l , to ipa t t e rn ; a m o mitate ; — Phonet ic

series 236.

Erh4. Two pins, two. There is an old analogous form for one. It forms

Erh4. Profit; a second sum (L. 161) adde fir

the capital;d to the st, to

It is now use.d for

security in accounts, instead of that ma he ey asily changed into or

. — Phonetic series 674.

c ed. An arrow or a fisPi. A thing certain, de id h that divides , that so vel s a doubt, a dilemma;

See L. 18 G. K'ang-hsi er roneously classified this character under

the heart . — Phonetic series 148.Note t h a t

does no t come from . See below K.


Second series: kuo1.

Kuo 1 . A kind of halherd, formerly much used. A hook or crescent on the top, then a cross-bar, and a hal ter hanging; — It is the 62th radical of words relating to spears and arms. It forms

Fa1 To destroy, to cut down. A man who receives from behind a stroke with a halberd;

— Phonetic series 195, To be distf r o m

inguished tai4, L. 71 B.

Ts'ai2. At the bottom, . On the top, the phone t i cts'ai

2 (L. 96), cont rac ted in to in the modern

writing. To wound wi th weapons; . — Phonetic series 2it.

Ch'ien1. See L. 27 B.

Chih4 . The a n c i e n t chiefs or officials. They held a weapon, when they made known their (L. 73

E, contracted) wi l l to the i r people

Note the combination of the

bottom stroke of , w i th the horizontal stroke of , which gives one stroke less to the phonetic series 671.

Yu4. A p r i m i t i v e appanage, a post, a centre; the — land that a landlord defended with the weapons of his men ; represents his residence, castle orTown ; the l imi ts are not indicated, because there were none;

Huo4. Extended meaning of the preceding, an indeterminate person, whose name is not given, known only to be from such a principality; a vague determination. — Phonetic series 364. It forms

Kuo ate, well3. An est defined ed wi th marks, as

ter on. Extended ,

a n d surroundthey were lameaning a state, a country; —

A ;one


Po4. narchy, revolution. When the fiefs are upset being straight up, the other upside down;


Wu3. he army, sold ers.T i The lances that stop the hostile incursions, thto

us allowing the people prosper, says the Glose;

Note that, in the modern cexception, the

haracter, by a singular of wa

compound.— Phonetic series 410. s placed on the top of the

Third series. Characters derived f rom and easily confounded.

Yueh4. A halberd with a hook; netic series 175. Pho

Wu4. Ha lbe rd with a crescent; See below P, th series e derive

It forms the phonetic complex d from

it.

Mao4. Flourishing, blooming;

On its side, contracted forms

Ch'eng2. To grow, to prosper, to a t t a in , to e n d ; (L. 57 ) is phonet ic ;

— P h o n e t i c series 179. is a b b r e v i a t e d in t h e o d e r n w r i t i n g m

Shu4. The men armed with lances, who defend the frontiers; See the derivative , 90 D.

Jung 2 Arms in general , war. From ao

rms for the ffensive, and (L. 152) armour for the defensive; e latter character is reduced to two strokes in the odern writing;

thm — P

H

honetic series 217.

su1. To attack, to wound, to kill. A halberd nda a wound;

I

M

t forms

ieh4. To extinguish; to destroy the fire; This character is now written

Wei1. Fear; the awe felt by women menaced ith w death; By

xtension, a stern composure, an exterior that inspires aw

ee; dignity, majesty.

Etymolo ical Lessog ns. 71 179

Hsien2. To bite; to wound with the mouth; The modern meaning,

all, together, is chia-chieh for or .—

Phonetic series 446. It forms Kan3. Heart bitten by a passion, an emotion. — Phonetic series 740. Sui4. Jupiter, the planet that

indicated whether an attack was to be made, or not. See L 71 P, L 112 G The is broken up, a

ha l f being on the top, a half at the bottom. — The ancients had also, for the com- pulation of time, a cycle of twelve years based upon the revolution of Jupiter. Hence, later on, the extended and adapted meaning, a period of twelve months, a solar year;

Note that is a modern a n d wrong form.— Phonetic series 760.

Fourth series: doubled, in opposite directions; o8.

O2. Ngo2. Two weaponthat oppose one another, my rmy Ego, my own person;This character being changed into

s in conflict, two rights ight, and , by extension,

personal pronoun, 1, me. uneasy to write, was soon

.— Phonetic series 297. It forms

I4. Harmony, good undrestored after

erstanding (L. 103), peace a conflic

after a disagreement, restosatisfaction to the interested parties. Hence all th

meanings of this important character,; the bottom of an affair, t rut , right; conventional , just, equitable, prop

t; convention concluded ring concord and giving

e derived

her, etc. Compare L 73 D, a n d

L 54 G. — Phonetic series 737. It forms

Hsi1. The imprecations (L. 53 D) that companied the conclusion

ac of a treaty. They

weranimals. Hence the ex-

e made upon immolated

tended meaning, victi ; now . Phonetic series 830. m

Filth series: doubled, in the same direction; chieGhien

n1. The common 1. To exterminate, to destroy.

work of two (many) halberds; — Phonetic series 333.


LESSON 72

About the primitive k'ou3, and its multiples

First series: simple. K'ou3. It represents the mouth . Mouth , entrance.

— His the 30th radical. Pho- rimitive is found in many

m ounds. Let us recall netic series 23. — This pco p L. 24 F; L. 60 C;

L. 18 E; L 64 B; L. 2 D; etc It is to be distinguished from weip r imi t i v nalogou cha

2 L. 74, and f rom other e a s racters; L. 59 D; L.

90 F; L. 109 A; etc. Note the derivat ives

e e x p l a i n s th is par t ic le ve r , t h e b r e a th issnes

Chih 3 . B u t , however. The Glosas fo l lows: When a sentence is of r o m the m o u t h , in two

follows w i t h wha t precedes. B u t w h a t follows is wr i t t en below, in the vert ical Ch inese l ines , therefore t h e two s trokes are t u r n e d do wn war d s . . . A l l t h e particles are i n t o n a t i o n s or finals, r a t h e r m u s i c a l t h a n s ignif icat ive , an i n t e r p u a c t u a t i o n t h a t is read;

puffs, th a t connec t what

— Phonetic, series 11 1 ,

Fei4. r o m F dog a n d mouth The hark of the dog; to howl; (L. 134).

mCh'ui4. Fro m o u t h an d to puff; to b low, to grumble. (L. 99).

Second series: doubled,

Hsua 1n mours Two. Cla

mouths expressing t h e n e mouthi t en s i t y of the act ion of th ;

K'u1. To lam ne t. To wail, as w i t h m a n y mouths, a f t e r the dogs m a n n e r ;

It forms o wa i lSang 1 Fune ra l s . T , as dogs , over a

dea b o d y ; d See L. 10 H. — These two ch acters v i v i d l y depict the Chinar ese th ing that they mean.


Chu1. Repeated cries to call the hens; isphonetic.

Ghia3. Large cup, with a cover; a hanap pas-s i n g r o u n d ,

a l l m o u t h s d r i n k i n g out of t h e same.

Tan1. To assault somebody, wi th cries and apitchfork

(L. l04). Compare L 72 F. — The pri-

mitive meaning of this charac ter Is obsolete. It now means, single, thin , a check, a bil l , only, etc These are mere chia-chieh. — Phonetic series 705 It has nothing ia common with

T'o2. A crocodile, whose sk in was used for making droms; It represents the mons- ter. The top part resembles L. 23 1. For the bottom, see L. 108 C. It is unconnected with tan1

( ) 4 To accuse somebody w i t h great cries. Two m o u t h s , and (L. 102 D) to attack; Mote th e m o d e r n form i m a g i n e d by the scribes. — Double p h o n e t i c series 470, u n d e r its t w o forms.

Y e n 2 , Cries that i n sp i r e awe. See L. 141 H.Severe, s t e rn , majestic. — Phonetic series 858.

Nang2. Cries , and agilatioh, that accompanythe

execution of a common work ; cooperation

working in common. Here again, the Chinese at work are well described. By extension, big disorder;

,

See LL 39 B82 A. In the. modern form,

, 39 G, was changed into ,

by a fancy of some, scribe. It forms

Ilsiang1. Composed of the last and of clothes, L. 16 A. To disrobe, in order to plough, or to work, or to help others. To work, to cooperate, to help. Note the modern contraction. — Phonetic series 831.


Nang2 A satchel, a recipare, or may be

ient (L 74 A), in which enclosed p

whatever; a bag, a sack.ell-mell any objects


et Men Ch'ien1. Meeting, tog her. gathered who chat. See L. 14 A and E — Phonetic series 726.

Kuan4. The heron Bird with a crest (L. 103 C), and clamorous. — Phonetic series 841.

Note: chou4 L. 29 D, and shou4 L 2 I3 , are not derived f rom

Third series: repeated th me line,ree t imes in the sa Ling2. Noise of voices; The two

t derived from following characters are no , though f igure of the same kind

an

they have a

Yao4. A P dean flute. The three represent the holes of the pipes uni ted together in a straight

244th radica l . Phonetic series 835.

Ling2.

row. See L 14 H — It is the

Fall ing of rain in big rops; d Formerly, it made a p

is nhonetic series, in which

ow written the compound

L vening2 To offer to hea jade (L. 83 A) , or certain dances (L. 27 E), in order to get rain

he first th ing asked from s, by a people whose life tension, spiritual, myste-

er or effect, transcendent, s. — Phonetic series 853.

Compare L. 58 H. It was tthe magicians and sorcererdepended upon rain. By exrious, superna tura l powmarvellou

Sub-series: repealed three times in a pyrarnidical form, P'in3. Disposition by order arepresented by the dispotaken for a multi tude.

nd degrees, graphically sition of three elements, is used as a sign and has no

meaning.


s Yen2. Rock scattered upon a mountain. The three are used as signs and have no meaning.

wayCh'u1. To dispose, to stow a things in a box ; By extension, lodging, place, site; — Phonetic series 607.

But, in the two fo l lowing characters, the three mean

Nmouths.

ieh1 . Three mouths jd i s t i ngu i shed from

oined by lines. To be yen2, above. To cabal, to plot;

Now nieh1, a mouth t ha t pour i ts wos rds in to three ears.

Tsao4. S ing ing of the b i rds on trees; — Phonetic series

764.

Fourth series: repeated lour times, Ch'i1. Many mouths, clamours; —

n t characters, e.g.

Ch'i . The vessels for t h e

F o u r m o u t h s may be seen in d i f f e r e

4 mouths , used for , a eat ing. In the midd le dog t h a t cleans them. It

was not very refined, therefore (work, utensil) was subst i tu ted for ; bby the critics. A very old form sthree pots. The p r imi t ive mearthenware, clay vesselextension, any utensil.

u t this form was not admitted hows a hand and

eaning was probably, s, made by the potter. By

Hsiao4. A m a n wi th four mouths. To vociferate, to clamour;

Yin2 An officer wi th four mouths. To speak loud;

Chiao4. Union of several mouths. Cries, appeals

O4 A modern form o( L . 54 F).

f . See L. 72 F. — Phonetic series 470.


LESSON 73.

About three derivatives of yueh1, kan1, yen2, that form important series.

First series: yueh1.

Yueh1. To s eak, to tell. Thep mouth that exhales a breath, a word ; Sometimes, by deriv

tion. — It is the 73th rad aation; exhalation, emana-

ic l. In the compounds, is to be accurate y dist inguished, f rom l 143, and from

jih4 L. mao . 34 J, which is written4 L

by the modern scribes. —more evolved form of

Note a more ancient and : t he b

volute of v ap o ur before the moreath forming like a u th, as when condensed

in winter . See L. 76 K

Ho2. A stranger , a beggar, who speaks, in o r d e r to ask his way or to bw h e i e ? w h y ? how? See L 10 G

eg By extension, to ask, . — Phonetic series 443.

Ch 'ang 1 Emanat ion , arming, u n d e r thsw e sun's heat ( L 143); by extensid o u r , glory. — The old for

on, prosperity, splen- ms f i g u re sun and

. — Phonetic series 322. moon, l ight a n d l i f e

Ta2. Flow of words (L 125). — Phonetic series 395.

ly two worthies who sat Ts'ao2. Judges Primit iveand pronounced judgment in the East halls. See L. 120 K. Note the u g l y modern contraction. — Phonetic series

See LL. 26 D; 40 D.

653.


Second series: kan1. Kan1. weetness of so e S m thing held in the m o u t h ( L . 1, 4°); good, sweet; by extension, satisfaction, affection;

— It ir e l a t i n g to sweetness. Phon

s the 99(h radical of few characters etic series 129 It forms

M u 3 . The t h ing sweet to the taste, the f r u i t s tha t grow on trees; It is used now, by a mere conto mean, a cer ta in person or respect or cau t ion forbids to use,

vent ional chia-chieh, whose name is unknown,

mu-jen; Phonetic series 467.

cient formShen4 In the more an , what was agreeable to the taste. In the more modern form, affection for the being th

exual) See L. 42 A. Thissays the Glose, hence the extended mtive, very, extremely, excess

at makes the pair (s affection being very great,

eaning, superla- ive.


Hs iang 1 Savour or odour agreeable, of the (c nt racted , L. 121 I) feo rmented grain, of the arack;

By extension, fragrant, odoriferous. — It is the 186th

Chih3

radical.

. Formerly, the tongue (L, 102 C), in with a sweet thing — (L. 1 4contact o0). N w

sweet; is the phoedict of t h e Emperor lhatsweet words — Phonetic serie

1

netic (L. 26 K). By extension, is supposed to be couched in

s 185.

Tien . Sweet to the tongue; it is f rom this re derived, in the phonetic phonetic contracted, that a

series 227 , the compounds in ien. See L. 102 C.

Yen4. Satiated. Glutted with the meat of a

dog. See L. 65 G. In the mo ern charact r,d e became , as in and above. It forms yen4, L. 65 G.


Third series: yen2. Yen2. To speak, to tell; speech, word. Words issuing

(L. 102 E) from the mouth. The sounds of the , sa the Glose; heart ys — It is the 149th

lating to speech. It forms

a ulate. To know how t

radical of characters re

Chi4. To compute, to c lc o enunciate the numbers till ten, i.e. all the numbers. See L. 24 B.

'aT o3. To rule by one's words; to chide; See L. 45 B.

t that theHsin4. Sinceri y; the qu a l i t y words of every man should haeffect produc d upon a

ve. Faith, truthfulness, the e man by the words of

another. See L. 25 H

n thereHsua 4. To go here a n d , whi le offering and praising one's goods, as the pedlars do. To praise up one's self

Luan4 See L. 92 D.

Shang1. See L. 15 D.

Fourth series: doubled

Ching4. Primitively, wo srds against word , d i sp u te , Then the two men (L 29 A) were added; Lastly, the scribes contracted this character into ,

-hradical and K'ang si wrongly classified it under the 117th

. Not to be confounded with L. 97 I.

uShan4. Harmony, good nderstanding (L. 103peace made again after an

), altercation By extension,

a as eetness, good, well;menity, ple antness, sw Compare L. 7

This character being uneasy to trace, the scribes 1 Q.

altered It in a strange way. — Phonetic series 702.


Fifth series: yin1. A series is reserved to this derivative of , on account of its important compounds.

Yin 1 . Utterance of a — sound. A sound, tone, phonation, modulation;

Compare the composition of kan1 and chih3, L. 73 B — It is the 180th radical. Phonetic series 498. It forms

Chang1. A strain in music , or an essay inli terature,

perfect (ten representing the finishing,

the perfection); series 593. It forms

-- Phonetic

Kan* Music . t ha t ruled t heevolut ions of the dancers in ancient times (see

and L. 31 E). It forms, by adding the radical

Kan4. Kung4. The gra- tification (L. 1 6 1 ) given to the musicians. Compare L. 65 D.

The scribes changed into , therefore this character is now written — Phonetic series 850.

Ching4. Limits, boundaries; where the languages or dialects of men change By extension, end;

K'ang-hsi who took for his 180th radical, arbitrarily classified under . —Phonetic series 603.

I4. The intention of the man who speaks, manifested by the sounds he utters; By extension, the meaning, the signification that the intelligence of

arer perceives in the

the he words of the speaker;

Phonetic series 739. It became, by contraction, in the compound

Chih4. OfficP

er. See L 71 I. — honetic series 671.


Note: In the phonetic series 739, are enclosed some derivatives of another compound, which the scribes confounded wi th

I4. Pleasure, cheerfulness, caused by a word, that hit the point (L. 109);

is divided, a ha l f being on the top, a half at the bottom; is in the middle. With at the bottom,

we have a compound which is also written It meant, pleasure. This sense became obsolete, and the character now means 100.000. It is written Compare L. 47 X. — Conclusion: in modern characters, the series is un i fo r m; written in ancient characters, it is decomposed into two distinct series.

LESSON 74.

About t h e p r i m i t i v e wei2. See L. 76,

Wei2. A r o u n d , a c i r cum fn ain ;

e r ence , an inclosure, to co t —characters relating to enclosurefrom the 30th radical

It is the 31th radical of s. To be distinguished

, m o uof

t h Different compounds wei2 were already explained . Let us recall

Yuan4. Larvae without skeleton, th»t can bend in r o u n d . See L. 65 E.

Yuan2. Cowries of a round form. See L, 161 B.

ith walls. See L. 14 C. She4. Dwelling made w

Ts'ang1. A granary to keep the provisions. See L 26 M.

Ch'iu2. A m a n impri soned See L 25 B.

Yin 1 . A man enclosed, k n o w i n g not what to say. See L. 60 B

Hun4. A sty for

pigs. See L. 69 B


Lo3. Penning, cattle-breeding, fattening. To catchand inclose

an an imal in a pen, in order, later

on, to get its

flesh; ti E, 65 A. The scribes changed

See LL. 10 E, into . —

Phonetic series 747, the radical being inserted at the bottom, betveen

and

Lei2. A sheep that needs to be fattened. Lean, feeble, meagre.

Ying2. To feed one's purse ( cowries). To gain at a game, or in doing commerce. Is phonetic contracted in the compounds in ing of the phonetic series 747.

I4. Seat of the government's authority (L. 55 B). Capital of a district, of a lief. Walled city;

— It is the 163th radical of characters denoting towns. Let us recall the compounds

Yung 1 . The moat a round a city L 12 G.

Y u n g 1 The wagtail, the bird that likes the moats. L 12 G.

Note: straight or turned, when abbreviated, becomes on the right, on the left. Hence the following

Yung 1 . The wa ta , as abg i l ove; is for , is for . — Phonetic series 769.

pace between the cities Hsiang1. The country, the s and , where the grains are growing See


th

L. 26 M

Lastly, in e next, is reduced to (L. 55 B).

Hsiang4. Composed of (L 47 Q) and of two , t en tolater on reduced o one, and th . What is of

oa comm n use in the cities , i.e. the streets, the paths;


LESSON 75.

About several series derived from wei2, viz. etc , that are important and difficult.

First series: shu4.

Shu4. To bind, to tie, to inclose a tree, taken

here as meaning any object;

— Phonetic series 303. It forms Su4, Sou4. Toto cough;

clear the throat, (L. 99)


Chien3. To select; to choose in a b u n d l e previously opened;

Not to be con f ounded with the compounds of , L.

This is a s i n g u l a r compound, that forms an interesting

40 D. — Phonetic series 429,

series. It is composed of , wi th a second greater, inserted h a l f ay up the tree T e rsometimes the phonetic, is introduced in this frame. The general idea of th i s now obsolete character was,a recipient , a case, a bag, placed h igh , out of reach. The scribes al tered it in many ways. The large

w h adical, or

is ge- n e r a l l y reduced to , and the foot of the tree to

. Some compound are given here : s

1Kao . Quiver, a case for arrows; is phonetic.

2T'o . A bag; , stone, represents the contents See the ancient character above. It forms

Tu . Worms 4 in cases, books or clothes, moths, book-worms.

Nang . A sack. Explained L 72 H. — Phonetic series 854.

2

The philologists attribute also to this compound, taken in the sense of euclosure, the Intricate forms of K'un3. See below, the different writings of this character. It means the path in the shape of a , which cuts the square yards of the


Chinese palaces, giving in the angles four spaces, planted with flowers; The first ancient form graphically represented this idea, which was

darkened by successive additions. The contractions were made by the scribes. Not to be confounded with hu2, L. 38 G. It has nothing in common with ya4, L. 82 H.

Second series: kao1.

Kao1. A kind of pavilion , raised upon a substructure; represents the hal l in this under building; An elevated place; high, lofty, eminent. — It forms the 189th radical. Phonetic series 544. When it is variously contracted, or overturned, or when its strokes are mingled, it forms the singular following series.

T'ing2. The phonetic ting1 (L. 57 A) replaced the at the bottom. In the modern writing, became . Pavilion, terrace; —

Phonetic scries 479.

Po4. An old city, (L. 33 B) root of the Shangdynasty, built upon a

height.

Hao2. An angry boar (L. 69) br is t l ing u p ; contracted is phonetic. Extended meanings, bravery; compare L. 69 D. I L.. or bristles, a ha ir , a n y t h i n g very minute . Hence the modern form , which isnot classical (

mao2, hair, L. 100) — Recently the

character has been adapted to the porcupine, common in the West of China. It is supposed to be very brave, and to shoot out its qui l ls , l ike arrows. — Pho- netic series 777.

Ch'iao2. In this character, it was the top of that disappeared, to make room for yao1, L 61 B;

Something high, a tree for instance, the top of which bends

down, overhangs. — Phonetic series 670 K'ang-hsi wrongly classified this character under

the mouth.

192 Etymological Lessons 75

T'ai2. A high place, a lofty lerroce, a look-out. Here is reduced to and . The of the bottom

was replaced by , L 1 3 3 which means that the birds alight there. The on the top, is replaced by

L 79, which indicat s the summit, as in e L. 59 F. By extension, any elevated place, staging, tower,observatory. — Phonetic series 790.

Third series: ching1, derived from

C h i n g 1 . It is , t h e bottom part of which is of

e replaced by a pivot (L. 6 A ) ; idea of loftiness,central i ty. The capital or metropolis, centre of thEmpire. The

tered the bottom in the modern character. scribes alIt is unconnected w i t h — Phonet ic series 336. It forms

4Ch iu Admi ra t ion (L 134 C), before something e x a l t e d . By ex te s ion , to go towards, to follo

nsequently.

Ching

n w,

n

co3. The su very high; brightness; a vista,

a prospect. Forms ying3, shade caused by aobject, intercepting

n light. — Another exp lana t ion :

the sun at the, capital Prognostics given by it about th affairs of the Empire, state of things, c i rcumstances — Phonetic series 672.

e

Liang4. The men of the capital, more enlightened than those of the provinces, advisors to the Government, etc. By extension, clear, illumined. The actual form is relatively modern.

hsiang3; modern form derived from Fourth series:

D Before studying 1hts series, that was specially distorted by the scribes, let us n o t e — 1.That is an arbitrary abbreviation of , which has nothing in commwith

on L. 94 — 2 That the scribes used the same. as an abbreviation of two

compounds of ch'un2 and kuo1 (below E and H), t at form series, if therefore h


the group is gathered, one gets a m i x t u r e of yang, un, wu, uo, etc. Thisphonetic confusion betrays a p r i m i t i v e divers i ty of characters which cannot be distinguished in the modern wri t ing, but is manifest in the ancient forms.

Hsiang3. To offer a g i f t to a superior ( contracted); represents the object offered; it is a modern primitive, distinct from yueh1 L. 73, and f r o m jih4 L. 143. — The a n c i e n t f o r m was composed of t w o abbrevia ted, on e b e i n g s t r a igh t , the o t h e r inv e r ted ; one offering, the o t h e r r e c e i v i n g ; Hence two meanings; to treat with favour ( n o w heng1), or to enjoy t h e favour received (now hsiang3). Compare L 75 G. — Phonet i c series 274 a n d 359; the latter is almost completely attributed to the compounds Ch'un2 an d huo1, below E, H.

Fu2. A b u n d a n c e . According to some interpreters, this character is composed of gifts received, and of t h a t d i v i d e s in f o u r parts , th i s d iv is ion implying t h a t a l l t h e corners are f i l l e d ;

— A more a nc ie n t exp lana t ion , t h o u g h less c o m m o n l y a d m i t t e d , seems to be t h e t r ue one. Acc or d ing to this, t h e character means ( c o n t r a c t e d ) , t h e h e a p i n g up of t he product ions of t h e

f i e l d s , goods of t h e e a r t h A b u n d a n c e , prosperi ty, Then the c h a r a c t e r is der ived direct ly from , a n d not f r o m . — Note the modern deformat ion , a n d the compounds fu4, bouses filled, wealth;

fu2, a transcendent influence that brings luck;


Ch'un2. A lamb grown up, big and. nice enough to be offered as a present: — Is altered into , as it was explained above D — Phonetic series 359. It forms


Shu2. To take (L. 11 E) a lamb

acceptab , to roasted;

le be Note the

compound shu2, shon2, the lamb roasted ( L. 126); by extension, well cooked, ripe. — Phonetic series 644. Now isgative pronoun.

M

used chia-chieh, as an interro-

Tun1. eek-minded, honest,simple as a lamb, that is beaten and does not cry; to bear, to beat, etc. — Phonetic series

715.

his character parallelled philosophy. Primitively

Liang2 The evolut ion of tthe evolution of Chinese moral the gif t (as in L. 75nature heavenly received. In tracter, t e coming down from heaven of the gift, is shown graphically (school of Meng

D), the capital gift, the he second aucient cha-

h-tzu, good nature).

, In the third ancient character good and evil nally, the gift has been (school of Tung chung-shu). Fi

lost (school of Li-ssu and HsAnyhow, the pr imit ive mea

un-tzu, bad nature). — ning has been preserved:

, original qualities, nature, natural, inborn, good. The actual character is an arbitrary contraction. See L. 26 0. — Phonetic series 289. It forms

Lang2. Name of an old city. Chia-chieh, a title. — Phonetic series 460.

asure, to weigh. Liang2. Measure, weight, to meComposed of (L. 120 K) weight, natural; the

c ith their nature. Note the a g in co n either with

weight of things ac ording wcontractions. It h s nothin mmo

L. 149 D, or with L. 143 B. It forms liang2, rations, food visions; the quantity of , pro grains

ed for food. requir


inverted, and contracted, forms

Hou4. Liberality, generosity. The reverse of , L 75 D. The inferior receives a gift ;

It is now wri t t en Hou 4 . Liberal i ty, generosity. The represents the

coming down of the gift , f ro m upwards. By extension, thick, large ( q u a l i t i e s of a generous gift) . The modern

character is an a rb i t r a ry abbreviat ion.

T'an2. A b u n d a n c e of s a l t ( L . 41 D); salting, pickling; by extension, different macerations; various chia-chieh. After many contract ions, the bottom of the charac te r became . — Phonetic series 706.

Fifth series: kuo, derived from

Kuo1 Walls, fortifications The fence (L 74) simple, or doubled (L . 76) of the ancient cities, w i t h two ( fou r ) doors opposite, each surmounted with a look-out. The is contracted. For thmodern abb rev i a t i on

e , see the note, L 75 D. —

Phonetic series 349. It forms Kuo1. Walls ( c i t y ) ; it is

the last character. Phonetic series 549.

rived from kuo1 (above, en h a simple

now used fo r—

Fu4 This character is dethe second anci t form, wit ), taken in

the sense of city, place. The turned up was eplaced by the radical r (L

To go in a city, to market. Bone already o f t en went, to

reiteration, repetitiou, etc.

. 31 B), to h, to go. y extension, to go where return for a second time,

marc

Note the absurd modern contraction. —

Phonetic series 442. It forms Fu4. A synonis now used fo

ym of the last; it r the simple form;

See below J.


Note. We incidently treat here about an important compound, li3, shoes, to walk; it is seemingly derived from , but in reality, it has no connection whatever with that character. Its story is thus given: primitively it was

Li3. The boats (L. 66), that men put their feet in (L. 112). In fact, the ancient shoes of Chinese much resembled a small boat; Then (L. 63), to walk, was substituted for feet;and

a man (L. 32) for . Later on, the character

was increased with

, to march (L. 3} C); this was a mere redundancy. Lastly the scribes contracted and in to , the bottom of the character thusbecoming identical to

fu4 (L. 75 I).

Finally, th i s co mp ound became l ike a radical of shoes,

being replaced by different phonetics. For in s t ance : Chi4, clog. Chu4, shoe Hsueh1, boot Chiao1, shoe.

Sixth series: k'o1, derived from

K'o1- To overcome, to prevail over, to repress, to subdue, etc. The top part is means, pressure from upwards, a weight that hangs

contracted, that

heavily. Some say, the bottom is (L 65 F) shoulder, contracted. A load that

weighs heavy upon the shoulders; The lo er part seems rather to be a primitive, repre tw

thsen ing

e idea of b e n d i n g u n d e r a load Note tha t , a m o n g t h e th ree compounds k'o , to be a b l e of suppo h st is the right ne, 1 r t i ng , of mas te r ing , t e fir o

though it is now used the least; To have the strength of supp rting, of subduing. o

does not come from . See L. 97 I.

Etymological Lesions 76. 197

LESSON 76.

The first series of this Lesson is about , which is wei2 L.74, doubled. Thesecoud series is about the primitive

hui2, that is often written by the mo-

dern scribes. To be distinguished from the series chiung3, L. 34 B.

First series: Wei2. Hui2. Double fence (see kuo1, L. 75 H); a vase hermetically closed. It forms very important radical compounds, but no phonetic compounds. Those lhat are sometimes attributed to it, belong to , below G.

Lin3. A depot, to put in (L. 15) the grains; It is now written

and forms

Lin3. A depot for grains, a storehouse;distribution of grain to the poor; gift, favour. — Phonet ic series 746. Note t h a t

is not na

Ping3, is a modern character, thatfound in the ancient dictio ries; to let

at must know to the authorities the poor th be (contracted) helped; to warn, to

inform.

T'an2. Grana ry that may be examined at the (L. 143 B) day's light; all the grain that must be there, is really there; sincerity, honesty. — Phonetic series 762.

She4. Grains enclosed in a grange. Wone has grains, he does not spoil them; thrift, parsimony. See L 13 C. In the modern character, the bottom of

hen

, and the top of , are mingled together.


Pei3. Pi3. To have a small heap of grains , an overplus tha t cannot be received in the granary. S s

f the e

uperabundant, and hence, not precious. It formPi3. Vulgar, low (extended meaning o

simple character). Primitively, th small garrisons on the barbarian borders;


T'u2. The plans to be made to order one's granary, when there are too many grains to be received

erein. By extension, to plan, to scheme, to calculate, ong for, etc.

thl

There are four in this character.

Second series:

Hui2. Image of an object (clouds, volutes of the smoke) t h a t turns, that rolls, that revolves;

Abstract notion of revolviug, of return. The scribes often write (L. 76 A). — Phonetic series 211.It forms

Hsuan1. To make a complete revolution, eitheron ones self, or through and through, or from one end to the other. See

L. 2 D E F. To revolve, to go through, completely. — Phonetic series 207. The

modern scribes changed into . It forms Hsuan1. A palace;


Mu2. To dive, while tu rn ing on one's self, inrder to get

o something u n d e r water, the head

being below;

By extension, to disappear, to be no more. — Phonetic series 72. The modern scribes changed into

The p r i mi t i ve is found also, more or less modified, in the old fo r m of yun2

cloud (L. 93 A); in an old form of yueh1 (L. 73 A) ; in the old form of lei2

(L. 93 D), thunder rol l ing above the fields.

LESSON 77.

About the primitive ko*. Kof

o4. A twig of bamboo, wi th a knot, and the whorl pending branches inserted in the knot;

It is now written , or . B y extension, an a

rticle. Specificative of unities. Let us recall the compound


Chih1. The hand, breaking a bamboo sprig between two knots; or, in the more modern form, the hand holding a bamboo sprig. A branch, a twig, to hold. — It is the 65th radical. Phonetic series 45.

Chu2. Bamboo, the twigs of which are not raisedup, but

drooping; It is now

written . Contracted form . — It is the 118thradical of characters mostly referring to the many kinds or articles of bamboo. It is phonetic in some characters, e.g.

Chu4. A multitude of bamboos. The common name of India in Buddhist books.

Chu2. A kind of rude harp, composed of thirteen strings that were struck with hammers. It forms

Tu3. To advance. Firm, resolute.

LESSON 78.

About the primitive and its multiples. The complete series of the compounds derived from this important element will be treated in the L. 73.

First series: simple. Ch'e4. A plant that sprouts from its grain; the minimum of a plant; at the bottom, the root; on the top, the culm; on each side, one leaf;

it is often used as a symbol, either to represent any object (L. 44 H), or to mark a point (L. 59 F). — It is the 45th radical of characters mostiy referring to springing plants. In the modern writing, the scribes disfigured this element in the most fanciful ways. See, for instance,

L. 44 H, etc. T'ao1. To hold. A hand holding an object;

Forms t'ao1, a bow-case, a scabbard, etc. Ch'en3 An insect that crawls (L. 110), the head being raised ( beak anunimportant compounds. Not t

d feelers). There are o be confounded with

ch'ih , L. 79 B. 1


Second series: repeated horizontally.

Ts'ao3. P lan ts with herbaceous stems. The

repetition means their multiplicity; — it is the 140th radical of c

relating to plants. Modern contracted form

haracters

. The

scribes con t rac ted in the, same way a few very different

lements, e.g. e in L 23 H; in L. 54 G; etc.

Third series: repeated vertically, not united.

Che3, she2 To cut , to break; An axe ,

and the two stumps of a branch cut. It is now

wr i t t en . See L. 48 D. — Phonetic series 252.

Ch'u2 Grass bound in .sheaves (L. 54); By extension,

vulgar, of small va lue, as the grass. Compare L. 44 I. --


Fourth series: repeated ver t i ca l l y , united.

Ch'u4. Springing of p lants; the small p lant . (L.

78 A) formed a. second pair of leaves, and thrusts it-

self out; To issue,

to go out, to spring from, to manifest, and other

chuan-chu. It is often disfigured by the scribes, so

tha t it becomes , etc.. — Phonetic series 147. It forms

Ch'u1 is tail contracted (L. 100 B). To go

away

, the tail lowering; By extension, depression, grievance, bent down

Compare li

. 4, L. 129 A. — Phonetic series 348.

Nao2. To go out in order to saunter ( L. 117

A):

Now By

extension, excessive relaxation, pride, insolence. —

Phonetic series 638 The scribes contracted into


Mai4. To sell. This part of business (L 161 D)which consists in

exporting goods; to sell them;

The scribes contracted into . Note that mai4 does not form phonetic compounds; the phonetic series in has another origin. See L. 79 J.

Pao4. To spread the grain, in order to d ry it,when the

sun is rising. Sec L. 47 S. The modern

contraction is a strange one, — Phonetic series 809.

Sui4. Unpropitious transcendent emanation.Bad omen, noxious influence;

Not to be

confounded with ch'ung2, to revere. T'iao4. To sell grain ; and its correlative Ti2. To buy grain ; (L. 62 G) is phonetic...

to go out; to enter.

Fifth series: repeated three times, and contracted

Hui3. Vegetables, plants in general; the three representing the multitude;

, The modern form is to be distfrom

inguished thirty, derived from , L. 24 N. It forms

Pen4. A man (L. 0) who walks in the 6 grass.

To stride, In the ancient character, there

is for (L. 61 B). — Phonetic series 472.

Fen4. Ornaments, Shells and plants. These were the first motives ofdecoration, being easier to be traced than others. See L. 35 G. — Phonetic series 732.

Sixth series: quadrupled Mang3. High plants, luxuriant vegelation;

Note the modern abbreviation. In the compounds, the added the

part is inserted between on the top. and the at the bottom, the

latter being often changed by the scribes into etc.

202 Etymological Lessons 78. 79.

Mang3. A hound rif sking about in the thickets. A kind of greyhound;


Mo*. The sun fading away at the horizon, in the plants. Sunset; now . By ex

to be no more, negation. — Pwhich the radical is oftenbetween the two down str

tension, to disappear, honetic series 637, in

placed at the bottom, okes of the lower ,

o changed int ;eg. , , etc.

i to tie — a corpse Tsang*. The ancient bur al; in he tie — has disap-

the modern charac r.a bundle of grass. See L. 28 H. Tpeared from te

Han2. Cold. A man who triagainst cold

es To protect himself . in a shelter, by burying h i ms e l f in

straw. See L 47 U. — Phonet ic series 530.

LESSON 79.

tThis Lesson, one of the most in ricate, is reserved for the important series that are (L. 73), viz.: etc. derived from

First series: t'un2. T'un2. The underground germledons part from each other; the curved line re the struggles of the young plant in order t

ination. The two coty- presentso take

root; the plumula rises above the — earth, and is brought to light;

By extension, the difficult be a camp. — Phonetic series 85.

ginning of an establishment, a foundation, a village, It forms

Ch'un1. Spring. Germination and pullulation of plants, by the effects of the sun. — Phonetic

series 436. The modern acter is another strange alteration made by the scribes.

char


Second series: chih. Chih1. A small p lan t ascending from the — ground; to grow; idea of development, of progress, of continuity; It is now used (chia-chieh) as the sign of the genitive, as an expletive, etc. Not to hewith

confounded fa2, L. 112 K. In the modern compounds,

either has its ancient form, or is contracted into , or otherwise. Note the derivatives

Ch'ih1. A scarab, large black beetle, boringthrough — the hard soil, coming to light. Chuan-chu, clumsy, stupid. Compare ch'en

3, L. 78 A. — Phonetic series 520.

Shih2. The time, succession of the annual sprouting periods of plants, under the action of the sun; compare L. 24 D, L. 79 A. Constancy, Later on, the character was erroneously connected with —Phonetic series 562.

Ssu4. Court, temple. The place where the law or the rule are applied, in a constant manner;


Chih4. The will; a purpose that is fixed, that develops itself; The heart is, according to the Chinese, the seat of the intellect and of the will. — Phonetic series 260.

Hsien1 To advance; to progress with one's feet (L 29); — Phonetic series 202. Repeated in

Shen1. To advance, to present one's self, in order to give one'sadvice. It forms

Tsan4. To pay a visit in order to give an advice;

presents offered, or, more probably, received;

— Phonetic series

849.


Shih4. market. The A grass grown place (L 4 A) , where one. 3 gets wh

E)... at one is in need of

(L. 19 instead of , the down

mingled with the horizontal stroke ofstroke

being Compare L 14 C. The modern form is not to be confounded, either with fa4 (L 35 B), or with

fei4 (L. 79 G). It forms shih4, the kaki (phonetic complex); and nao4

(logical aggregate), to wrangle as on the market , to quarrel, to scold, etc.

inverted forms

Tsa1. To go round; to perform a circuit or entire revolution; as which turned on its axis;

In the modern times, this character was changed by the scribes into ;

is found in shin1, L. 86 B; and in wei4, to escort,

a different writing of , in which replacing the of the phonetic , means perhaps the return

while ,

means the going.

Sub-series and combined wi th t'u8 (L 8 l ) forms

Wang3. Luxuriant vegetation, that sprouts fromthe

earth, here and there; rambling, wandering;

Note. In its modern contracted forms, wang3 might be onfounded wi t h c chu3, master, L. 83 D; and with

wang2, king, L 83 C. In the first case, the soundprevents any mistake. In the second case, the distinction is not easy, the two phonetics being homophonous. See phonetic series 87 and 115. Note the derivatives

Wang3 To stray, to go away;

K'uang2. A mad dog that roves; — P h o n e t i c series 285

K u a n g 1 A regular assemblage. It is supposed to rome from (L 51 A) , and already contracted inthe writing hsiao-chuan. It seems rather that

is a

primitive, representirig a regular ordering. Comparhsuan4

e , L. 47 F. — Phonetic series 223.


Sub-series , another combination of with t'u3, (L. 81).

Feng1. Fields and meadows , under the authority of a feudatory; an appanage, a domain,a tenure;

This explanation seems to bThe ancient character first represented a

e erroneous. tree upon

a tumulus; , the authority, was added later on. t is composed like I , in which was also added

later on. A knoll surmounted with a tree, represented the Imperial possession of the land. A similar knoll, but smaller, was erected in the fief granted by the Emperor to a feudatory. Symbol of the jurisdiction ; fictitious principle of propitions influences; etc. By extension, to raise a tumulus, to invest a noble, to appoint to office, to seal, to close, etc. The modern forms are contracted. Nothing in common with

(L. 81 D). — Phonetic series 440,

Third series: sheng, often contracted into

Sheng1. A plant that grows more and more. A whorl WHS added to L. 79 B;

By extension, to bear, to spring, to live, to grow. — It is the 100th radical. Phonetic series 154. Note the

derivatives

Ch'ing1. Green. The hue of growing plants, the light green of sprouting plants;

But (L. 115 D) means reof

d! Was the inventor a Daltonian? — It is the 174th radical. Phonetic

series 337.

Hsing1 The stars; the quintessence of sublimated mailer, that ascended and crystallised into stars;

The three top elements of the anci character are a primitive, representing the stars. The modern character is a contraction of the same. — Phonetic series 447.

ent


Ch'an3. The signs of parturition. See L. 61 F. — Phonetic series 592.

Luny2. Prosperity, abundance. What descends (contracted) from heaven; what is produced on earth; all goods. See L. 31 F.

Tu2 The noxious weeds that grow everywhere, and that must be avoided. Poison, venom. See L. 67 M. Su4. This character does not mean to rise from the dead, but to change (L. 41 A) one's existence, in the Taoist or Buddhist sense. Hsing4. The natural disposition, temper, spirit, the qualities and propensities; the heart of a man, at his birth. Hsing4. The place where the dan-chiefs of old, were born from a woman impregnated by heaven. They were surnamed after that plac nce he extended meaning,

e; he family surname.

Sheng1. A multitude, a great number o

t

f beings.

combined with (L 18) forms the two series 4 and 5.

Fourth series. fei4. Fei4. The branching plants, that do not stand, but creep, .and whose bough's-multiply indef nitely; by extension, multiplication, fibres

i;

— Phonetic series 57 The mo ished fromdern form is to be distingu shih4, L. 34 D. and from fu4, L. 35 B... Fei4 is, sometimes, used also under the contracted forms and . Note the derivatives

Po4. The multiplication, the human procreation ( child, L. 94). — Phonetic series 30t.

So3. Fibres (L. 92) of the plants; to tie up; a cord. — Phonetic series 565.


Nan2. The South. Regions in which the luxuriant (L. 102 F) vegetation expands everywhere. The country of lianas. — Phonetic series 468.

Tzu3. A stop — (L. t. 3°), in the development of vegetation. To stop. The mode rm was invented by the scribe

rn fos;


Fifth series: p'an4.

P'an4. To strip hemp and divide the fibres from the stalk; The modern form is to be distinguished from mu4, tree, L 119; and from shu2, L. 45 J. P'an4 (and not mu4) is the radical in hsi3, hemp. It forms

P'ai4. Textile fibres Not to be confounded with lin2, that comes from mu1, L. 119 L. It forms

Ma2- Prepared hempen tow, kept under a shelter (L. 59 I). — It is the 200th radical. Phonetic series 634 It forms

Mei2. Bad tow, (L. 170), had; negation.

San4. Striking of the fibres, to dissociate them; to separate; It forms

San*. To strike meat and ts, in the to reduce it into filamen

Chinese way; The modern now used for the last; to scatter, to separate, to disperse, to break

form contracted Is

up, etc. — Phonetic series 701.

Sixth series. In4. From and (L. 60).Lu4. Mushroom. A pla

nt that stands as a

The man; is contracted. It orms f


Ch'iu4. The tadpoles that swarm like mushrooms. Hence the p h o n e t i c c o m p o u n d

Tsao4 A stove for cooking; — In these intricate characters, is often contracted into , to give room. See L. 108 C.

Mu4. A benevolent look; is phonetic. Friend-liness. Now

, lu4 (below) being the phonetic.

It forms

fer; to haggle about Yu4. To chaf the price in friendly

terms. iscontracted into

,

so at the modern form of this character is identicth al to mai4, to sell, L. 78 E. — Phonetic series 817.

Earth, soil, a mound; Lu4. — Phonetic series 379. It forms

4I To cultivate the ground; See

nsidered as a derivative from

L. 11 E. — Phonetic series 619.

The following is co contracted:

Ling2 To s tumble , to knock against an obslacle; a tumulus , a hillock. — Phoneiic series 378.

For these two forms, see L. 165 B

LESSON 80.

About the primitive shan1. Shan1. Mountain. On the top, three rocks;

— It is the 46th radical of characters relating to hills. Phoneiic series 25. — This character is to be distinguished from certain modern

contractions, e.g. L. 164 B, L. 165 B, etc. SeeL. 25 I,

hsien1, the genii, the men who dwell

on the mountains. Sometimes a symmetrical phonetic is introduced in the radical , e .g . L 90 D,

L. 69 J.


Note the development of the image in the following Yao4. The highest peaks owhere the Emperors worshempire (Textes Historicharacter represents the rowcharacter is a fancifu

f mountains (4, then 5), ipped when visiting their

ques, p. 32). The ancient s superposed; the modern

l deformation made by the scribes;

It is used also chia-chieh, as a term of respect.

LESSON 81.

About the primitive t'u3, and its multiples. A special series is reserved for ting3.

First series: t'u3.

T'u3. ar th , soil , ground. ThE e earth t h a t produces a l l things. The top l ine resoil; the down l ine represen

presents the surface, the ts the subsoil, the rock;

It is the 32th. radical of characters re la t ing to earth. Phonetic series 32.

e— S e L. 38 C; L 2 7 D ; L. 79 E, F; etc. Note the fo l lowing

K u a i 4 . To clear l and , changing hus his

ea nce; new, strange;tapp ra

Forms kuai*, moral singularity; singularity in general;

Nie h 1 . Clay exposed to the sun. Hence clay watered, t hen ha rden ing when exposed to t he

sun. To mould earthenware, bricks, etc. — Pho- c series 296.

Nieh1. edH h

neti

( mi s t ak en for the prec ent) ui 3 . T e primit ive mortar to pound rice, a hole

dug in the hard soil, or perhaps a hollow brick. Hence


Hui3. To pound (L. 22 D) in the mortar, to grind to dust. Cbuan-chu, to destroy erly. — utt is a vicious form. — Phonetic series 735.

Note: t'u3 is to be distinguished from (L. 60) or (L. 61) on the top

of etc; and from or (L. 79) on the top of etc. In composition, t'u3 is ord ri at the bottom, or on th e compound.

ina ly e left side of th

Second series: Multiples of

Ku i 1 . Lands; Appanages of the ancient feuda the different sceptres given t peror, when they were invested — Phonetic series 224. For

tories. By extension,o nobles by the Em

with thei r fief. that is not derived from , see. L. 79 E.

Yao2 Earth heaped u p ; It forms

Yao2. Knol l , mound. From earth heaped up on a high base;

2Name of the celebrated Emperor Yao (22 Centuries B. C.). — Phonetic series 719.

: t'ing2, composed of and Third series

T'ing2. A man standing on the ground; Compare L. 60 H.

To be distinguished from jen2 (L. 82 C). It forms

Yin2. Idea of encroachment, of usurpation, of outrage, of violence;

Lit, while standing on one's rights, to encroach on another's rights. The compound

yin2, that is DOW mean lewdness in general, is in that meaning chia-chieh foused to r rape.


T'ing2. To go to the court, to stand at one's place, for an imperial audience:

The Emperor sat on his throne before the inner door, the ministers were standing in two lines, on the left and the right side, in the court- yard. Each of them held in his hands the sceptre, sign of his dignity. See LL. 55 A, B; 85 F; 81 G. — Phonetic series 305.

Ch'en2. A minister who, when standing at his place, bows down profoundly. See (L . 82 F). Forms, by adding moon (L ), the quaint compound

Wang4. A solemn imperial audience The ministers reflecting the splendour of the Emperor, as the moon reflects the light of the sun

. 6* G

;

Forms

by substituting to : Wang4. This character has two different meanings. — 1. The ful l of the moon, after which the moon decreases. — 2. To look at, or forward, or towards, to desire; in this sense, it is cbia-chieh for the last.

Ch'eng2. To speak .whi le standing at one's place; to notify, to lay before a superior. — Phonetic series 255. It forms

Sheng4. Those who listened to and understood the advices giv and therefore became wise; wise fect;

en, , per

Tieh4. Notification made with menaces (L. 71 F). It became by the redundan dition oft ad contracted into

the Tieh4. Hence phonetic complex t'ieh, iron,

Other derivatives of explained elsewhere: L. 12 H; L. i) 0; L. 120 K.


LESSON 82.

About the primitive kung1, and its important derivatives, jen2, chu4, ch'en2, ya4. Two other primitives, i2, and t'ou3, will be incidentally explained.

First series: and its multiples.

Kung1. It represents the ancient square. By extension, work, skill, labour, any ornament requiring skill. For, says the Glose, the square gives the shape to a l l things; it forms the right angle that forms the squares, that form the circles, etc. In an ancient form,

represents the parallel lines traced with the esquar ;

— It is the 48th radical. Phonetic series 24.

Different compounds of were explained elsewhere. See L 27 E; L. 49 G; L. 46 B; L. 71 G; L 11 F. But is not derived from it. Note the

following:

Kung 1 . A work that requires done,

(L. 53 A) strength, and therefore meritorious; work achievements , mer i t ;

Hsiang 4 The nape, The part behind the head, on which the loads are carried (L. 160),

Kung4. Cowries paid for a work done; salary, contributions, taxes; (L. 161).

K'ung1. Artificial excavation (L. 37);acavern, a bale, an opening, empty: — Phonetic Scries 372.

Chan 3 Symmetrical and intricate ordering or drawing, for which the square was much used;

It forms Chan3 Gowns (L. 16) embroidered with ornaments, worn by the ladies at the court. Contracted in


Chan3. The skir t of tha t gown, the train which unrolls itself from the lower part of the body;

By extension, to open out, to unroll, to xhibit Now expand, to e The modern contraction

was made by the scribes. — Phonetic series 508.

Sai1. To fill or s tuff a hole, to stop up, to obstruct. Two hands pile up bricks or other materials, in an

opening:

Now — Phonetic series 350.

Second series: jen2. Jen2. Not to be confounded witd t'ing2, L. 81 D. A man (as in I . 50 C) who carries a load; the Chinese carrying bamboo pole with a load hanging at each end. The figure is couched, see page 18-8 A loan, a burden; to bear, to e ure, etc. This character was used to mean the n h of the ten stems in the cycle, and the compou

to take less place;ndint

nd was made to replace it

— Phonetic-series 66.

Jen4. A burden , a charge, to bear, etc. It is used for . The tone was changed: — Phonetic series 215.

Third series. chu. Chu4. A greater square (

an Now

L 82 A ) , for longer measures, either agrari or others. It had a handle or a tie, to be handled. . By extension, big. — Phonetic series 118.

Ch'u2. A dra in . a canal, a place for winto;

ater to run It comes from , a kind of

squar ed to make the aquedu e are dif rent chia-chieh.

wooden e or level, us cts. Ther

fe


Fourth series: ch'en2.

Cc1m

h'en2. Minister, attendant on a prince. The haracter, straightened in modern wri t ing (see page 8-8), represents the minister prostrate before his aster; — It is the

1

H

31th radical It forms

uan4. Minister at the palace; an official, eunuch. Compare an k

T

uan1, L. 86 C.

sang1. Compliance, the virtue of the mPh

inisters. onetic

ch

C

(LL. 127 B, 71 F). There are different ia-chieh — Phonetic series 792.

hien1. To have hold of one's men ; firm, lid; so wNo . — Phonetic series

332.

Wo4. To resalute kindly the saluting minister;

It forms

L eain9. To tr t k ind ly the different classes of ficials of (L. 75). By extension, to be condescending,

amicable;

Chien1. To bend over a fu l l vase (L. 157), to ee its contents. To examine carefully, to watch over; places under s an office, a bureau, a prisonetc.

s watch, a ,

— Note how, in the modern character, the co o ntracted received between its twstrokes, the of dislocated. In the compounds, when a radical is added at the botto , m placed onthe top, on the right side, becomes

; see he fol- t

lowing lan3. — Phonetic series 772. Compare

L. 41 D. To examine Lan3. carefully, to

consider; — Phonetic series

852.


The derivatives of are to be distinguished from those of the primitive I2. This character, a straightened figure (page 18-8), rudely represents the. face and projecting chin;

Compare L. 41 B. — Phonetic series 279. See L. 85 A.

Fifth series: ya4. Ya4. A work deformed; ugly, as a hunchback. The vertical line is doubled, to show a deformation in different directions. The meaning second, derived

from , is chia-chieh. — Phonetic series 411. It forms O oral evil, defor- 4 Wu4. The mmation of the heart (o4),

causes and the repulsion which it (wu4); to detest, to hate.

Note: in the modern writing, several characters contain a that has no relation whatever with the ya4 of this Lesson; e.g. L 38 G, L. 75 A. Item, the next primitive has nothing in common with

vessel, probT'ou3 A wine ably wooden made; Is f o u n d in

Cho2 To cut, to scoop out: The scribes write . which is a wrong form.

Tou4. To quar (L. 11 I ).

LESSON 83.

About the primitive

rel

yu4, jade; and incidently, about the analogous characters wang2 and chu

st series:

3.

Fir yu4, often written Yu4. The half-translucid minerals, milky or coloured, as jade and others, of which the Chinese are so fond;

They ascribe to it different effects, and ticles worn at the girdle. The character make with it ar

represents three pieces of jade threaded; The addition of a dot is modern, and made in order

to distinguish yu4 from wang2. — It is the 95th radical of characters relating to gems It is found in many compounds, e.g. lung4, neng1, to handle an object made with jade , L. 4 7 F.


doubled, forms thy next two:

Pan1. Veined (L. 61 F), like certain nice stones. Pan1. Division of charges, of offices. The middle is

(L. 52) in the sense of (L. 1 8 ) to divide. Th oe tw are two jade sceptres, signs of dignities. L. 55 H. Ch'in2. Harpsichord of soniferous s

oriques represent

it ive

tones, hanging from a string. See Textes Hist , p. 82 (one stone). The ancient character s two stones, and the suspension string (a prim ). Compare L. 17 F —

The following characters are said to he derived from ch'in2 (radical contracted; the phonetic is at the bottom): ch'in4, she4, p'i2, pa1, etc., different kinds of citharas or harpsichords.

Second series: wang2. Wang2. A king; the man who connects heaven, earth and man. See L 3 B, where this character was ful ly explained. - Phonetic scries 87. It forms

Huang2. Originally, it meant the three most renowned rulers of antiquity, Fu-hsi, Shen-nung, Huang-ti; those who were kings, in the beginning (a contraction of L. 159)

It was used to designate the modern the year 221 B.C See Textes Histori- Emperors, from

qttef, p. 209. The gives this definition: «light of the Empire».

Compare with the definition of , below D. — Phonetic series 452.

Yun4. Lun4. Intercalary moon, supplementary. Two explanations of this character are given. — 1.

Formerly, in the plenary andience at the Court, when the moon was intercalary, the Emperor sat at the door

,place;

not iu his ordinary — 2. Once , every three years, a

moon must be intercalated; is phonetic; In that case, is not derived from , but directly

from L. 3, ar-

Etymological Lessons. 83 84. 91?

Third series: chu3. Chu3. A lamp-stand w i t h the flame rising. By extension, a man who spreads light, a lord, a master. See L. 4 B, where this character was f u l l y explained. — Phonetic series 115.

Note. Do no t confound w i t h the derivat ives of a n d of , those of L. 79 D; , , etc This is more easily said t h a n done.

LESSON 84.

About the p r imi t ive chi3, to be distinguished from i2, and from ssu4, L. 85.

Chi3. The a n c i e n t character represented the threads of the weft, on the weaving- loom. On the top, two threads transversal, one thread longi tudina l ; at the bottom, the thread in the shut t le . The character was simplif ied later on.

When was chosen, on ac-

of its simplicity, to become a cyclical character (the sixth of the ten stems), as replaced by

countit w . It means also, chia-chieh, a person, one's self, 1, myself;

— It is the 49th radical. Phonetic series 14 Note the compounds: Chi4 Used for the last; to sort threads. By extension, arrangement, disposition, set, succession. Chi4. To tell the succession of facts, either by speaking, or by writing.

Ch'i3. To rise; te put one's self in motion

Fei1. Women secured for one's own seif; The secondary wives or

concubines of an emperor. Its original meaning, to match, to suit, was given to the next. P'ei4 The wine drunk at the wedding-feast (contracted). See L. 47 V. To pair, to mate, marriage. Chi4. The series of events or times that are kept in memory ; death of great men, of parents;

, anniversary day of the death. By extension, because on such days, music, spirits, meat, etc. were

avoided, the character meant, to shun, to abstain from. — Phonetic series 256.


Note. The derivatives of chi3 are often scarcely distinguishable from those of ssu4 and i3 (L. 85), when these are wrongly shaped; as well as from those of (for L 55), as in . K'ang-hsi wrongly classified this character under chi3. On their side, the sc commonly maltreated those series, as may he seen by the characters given above.

LESSON 85.

About two primitives,

ribes

ssu1 and i3, to be distinguished from chi3, L. 84. K'ang-hsi gathered under the 49th radical , all those heterog neous elements.

First series:

e

ssu4.

Ssu4. The figure of an embryo, a foetus See pao1, L. 54 B. — In the maternal womb, the child is or

; at birth, or L. 94 E, F; when swaddled, L. 94 A; when it begins to walk, 29 B. — Ssu4

is used as a cyclical character. — Phonetic series 28. Note the derivatives

Ssu4. Sacrifice See L. 3 D

P. The ch in ; (L. 82 G), It forms

Hsi1. Bright, splendid, glorious.

i3. I3. This very ancient character is supposed to represent the exhalation of the breath, the virtue that emanates from any object, its action, its use. By extension, use till exhaustion, to terminate, to decline, to have done with, to be no more, passed;

Second series:

Compare L. 73 A, and L. 76 G.

Note: is uniform in the ancient writing. IN the mode writing, it is written by the scribes In four

diffe s,rnrent way and that we shall

explain successively


C 1. written , e.g.

I2. To extract from a thing al l tha t can be extracted from it, then, to stop, to finish.

Kai3. To treat a person or a Ihing (wi th hand and rod), so that amendment is produced; to change, to alter, to reform

D 2.

, to correct.

written , e.g.

Ssu4. Plough-beam and hand le ; the wood that fertilizes the fields. It is unconnected with L.

86 B.

E 3. written in the following series. (Note that is used as an abbreviation for three other primitives, L.L. 38 E, 38 H, 89 A; hence an easy confusion).

I2. The mouth exhaling a breath. By extension, to speak in order to make elf known ; I, one's self;

one's s used as an arbitrary

abbre of It is

viation t'ai2 (L. 75 B). — Phonetic series 127.

Yun3. To manifest one's consent, one's approbation. A man who says yes. See L. 29 E. — Phonetic se 9. Forms phonetic complex

Tsun1. To walk

ries 9 the with dignity— Phonetic series 311.

Mou3. To low, to bellow. An ox that exhales its breath;

See L. 132. — Phonetic series 231.

I3. A final particle denoting that one has finished to speak; The dart (L. 131)

the , fixed as when the arrow has hit the mark. Compare means that action is ended ,

L. 71 E. — Phonetic series 880.


Neng2. Here represents the roaring of the angry bear, that st up ready for a fight ( ands the fleshy body, two claws). See L 27 J.— Phonetic series 554.

F 4. writteu . By, with, to use, by means of; K'ang-hsi counts

five strokes for this character, that really has four only. — Phonetic series 65.

Ssu4. A

It forms

man who has the same virtue as another. By extension, equivalent, ike, similar, to resemble in general

LESSON 86.

About two primit ives, t h a t rea l ly form o n l y one , because they differ o n l y by p lus or m in u s strokes of the same k i n d ;

l

f u 4 , a n d tui1.

First series: fu4, now

Fu4. Compare L. 59 A. Declivity with successive rows superpo The steps are placed u n d e r sed. , so that the compounds may not be too large. In first ancient form, the three smal l rounds repr forest on the top. The scribes invented the modern a rary abbreviations By extension, big earthworks, - ments, dams. — It Is the 170th radical and distinguished from the I63th radical

the esents

rbitembank-

(also acted into

contr), by the fact that is on t t side in

the Ser es 170, while it is he right side in the Series 163 Note the two d vatives,

he lefi on t

eri yin1, the shady side of a hill ( Nor and th); yang

to

2, the sunny side of a h i l l (South). It is now used mean the dual powers, day and night, life and death, male and frmale, etc.


Second series: tui1.

Tui1. A lighter declivity; two steps only. By extension, ramparts, city, troops that keep it, a legion. The

lost its in some modern compounds; it is then distinguished from to be i3 (L. 85 D). — Phonetic

series 245. Note the derivatives

Shuai4 To lead a legion; a general; The (L. 35 A) is the guidon of the

commander. Compare the following

Shih1. It is — the first banner, that staid at was com-

ce, , etc.

means

the capilal; the guards, whose commander rnander-in-chief, the one above the others. Hen by extension, capital, army, multitude, master — The old forms are made of a primitive that waving, and tsa1 (L. 79 C) that means rol A waving and r g mass; the people or the army. — Phonetic series 561.

ling.ollin

Chui1 Legion in march ; to pursue. — Phonetic series 526

Nieh4. A plant that grows on a declivity. Compare L. 59 F Notion of visibility, of notoriety. It forms

Nieh4. Evil deed, sin; scandal; (L. 102 H), This character not being easy to write, the scribes

replaced it by the derivative contracted

( properly hsieh1, hsueh1). in the phonetic compound , son of sin, child born in adultery. The admitted the change.

Kui1 The arrival of the bride in her husband's family, to which she will belong as a wife (contracted). See L. 44 K. The is a modern phonetic redundancy.


Kuan1. Primitive meamandarin who presides over a city,

ning, the residence of a the hall of the

city, ( is the mextension, the mandarin, the g

series 370.

odern abbreviation) By overnment. — Phonetic

LESSON 87.

About the primitive kung1, and incidentally about the primitives fu4 and ti4. that resemble it in the modern writing.

First series: kung1. Kung1 . It represents a Chinese bow, with its handle in the middle; The ancient forms represent the bow bethe 57th radical. We ha

nt or vibrating. — It is ve seen it already, in

L. 28 H, L. 60 D, etc. For , see L 90 L, L. 10 B. Note the following

Yin3.

1

To d raw the strin of the g bow; Chuan-chu, to attract, to

lead, to induce, to seduce. — Phonetic series 93.

Ch'iang2. Muscular strength. To have the strength to bend a kind of bow, the resistance of which is equal to the resis e of two ordinary bows. In the military competitions, such exercises took place.

Note 1. The bows were kept by pairs, fixed upon a s t i f f piece of wood, in a sheath. Hence it comes that, sometimes, in composition, two

tanc

mean a pair, or that which makes the pair, a second ; as in

Pi4. Auxiliary, minister. See L. 41 B.

Note 2. In the following, the scribes fanciful ly wrote for another thing.

Jao4. Feeble, fragile, slender. Wings of a young bird. See L. 62 D.

Li1. A caldron

(L. 155) steaming (the two side- lines undulating represent the steam).

Chou1. Rice water or gruel; grain that boils in a caldron. This last character is now contracted into

•

Etymological Lessons. 87.88. 223

C The bow is kept horizontally, in the following, as it is natural, to shoot a bird that flies above th« bowman.

Tsun4. To shoot a bird on the wing; — Phonetic series 714.

is a wrong form of tsun4.

s a wrong abbreviation of hsi1, L. 15 C. i

fu4. Primitive. Fu4. To act against an obstacle. Two divergent rods which one seeks to t ie together;

Second series.

Opposition, prohibition, negation. —

Phonetic series 121

Third series. ti4. Primitive. Ti4. A thread that is wound on a spool, having a catch on the top, and a winch at the bottom. Primitive instrument, reel and bobbin. Compare

elder, L. 102 B. — Chuan-chu, succession of brothers, younger; succession; younger brothers;


Note. tzu3 that Is like ti4, has nothing in common with it, nor with See L. 79 G.

LESSON 88.

About the partial primitive , and incidentally about ,

First series. pai2. Pai2. The sun (L. 143) that just appears. This meaning presented by a small point (primitive) on the to he sun. The dawn, when the Eastern sky becom s white

is rep of t

e . Clear, white, bright, etc. — It is the 106th radical.



We saw already in the compounds L. 29 C; L. 18 L; L. 60 F, etc. Note the following:

Pai2. From cloth, and while. See mien2, L 92 B. — Phonetic series 386.

Pai3. One hundred; , One hundred is the — unity of hundreds;

ancie

is phonetic. Other commentators, judging from an nt writing, consider as a contracted (L.

159); hut meaning the beginning, the interpretation is the same. It is to be noted that all the great unities of the Chinese numeration, hundred, thousand, myriad, are designated by borrowed characters. See 24 D, 17 X. — Phonetic series 233. It is repeated in

shih4, abundance, wealth A man with one h u n d r e d u n d e r each a r m ;

yao4, lao4, a special par t ia l p r imi t ive . Yao4 It represents a wooden

Second series, support on which

a drum and bells are hung. Therefore is not pai2, and is not yao1

(L. 90). — The orches- trion of old Yao4, music in general. When read lao4, it means the effect produced by music, pleasure, joy. Phonetic series 815

LESSON 89.

About the primitive ssu1. See the Note, below B. Compare LL. 90, 91, 92. Ssu1. A cocoon. It represents a silkworm that coils Itself up, and shuts itself in its cocoon. By extension, selfish, to care on ly for one's self, separation, private, particular; — It is thecompound

conventional 28th radical. The following replaced in the modern writing

ymological meaning, my Ssu1. Et share of xtension, private, personal, partial, selfishgrains. By e ;

— Note also


Ch'uan4. To calculate (L. 47 G) one's own zzle, advantage (at the others' expense). To embe to

assume, to usurp. B Note. The scribes used

ll; rily

as an abbreviation for three other primitives (LL. 38 E, 38 H, and 85 E), which makes four in a hence an easy confusion between them. Further, the scribes still use arbitra for other intricate characters, in which case is an abbreviation, and not a primitive. Note the following

Lei3. To build a wall. L. 149 E.

Shen1. Orion. L. 62 G.

Gh'i2. A regular assemblage. L. 174.

LESSON 90.

Abou

t doubled , and its mul t ip les ; incidental ly about

yao1.

Yao1. The lightest thread, as it is obtained by the simultaneous winding of two

First series.

cocoons. By extension, thread, slender, tender,

— It is the 52th

radical. Note the compounds

Ma1, mo1. Vegetable fibre (L. 79 H). It is now used, by convention, as an interrogative particle.

Yu4. Young, slender, who has very slender tendons. Not to be confounded with huan4, fa L. 95 B. — Phonetic series 171.

Hou4. To march

lse,

(63 A), while stretching a thread behind. The is a radical redundancy added later on. By extens to follow, behind, posterior, after.

ion,


Luan4. An embroiled thread, that is disentangled by two hands (L. 34 A) means separation;

Confusion, disorder. Note the aracter. It forms

Luan4. A synonym of the last;

alteration of the modern ch

representing the thread that is drawn , is a radical redundancy. Ts'u2. To clear one's self from a sin (L. 102 H); to excuse one's self;

Yin4. A line of posterity, heirs, generation Trans- mission of the ( L. 65) ancestors' substance, that is divided into branches. The continuous successi n a family, of one generation after anotheron, i ;

Second series. doubled. Yu1. It is the mean in g of re in forced. Very slender, almost invisible; It forms

Yu1. The most shady recesses in the h i l l s (L. 80);

Chi1. A guard of soldiers on the frontiers (shu4, L 25 D), who are attentive to the least movement, to the smallest event. Hence the deriv eanings, to examine into, subtle, hidden, small few;

ed m, a


are derived from contracted. See L. 92 F, G.

Third series. quadrupled. In

Chueh2. To cut short a thread, to interrupt, to sunder, to break off, to cease. Four threads cut short, divided by the two ;

This ancient character was replaced, when the writing-brush was invented, by

chueh2, that is synonym; to cut a thread in pieces. See L. 55 G. It forms


Tuan4. To cut, to break off, to interrupt; From an axe, and to cut, The ancient character

was tcould not be traced with the writing-

brush; it herefore written chi4 in the modern writing, hence instead of which is graphically wrong. Note the modern jun on of the twcti o

Chi4. It means the contrary of chueh2, because it is chueh2 inverted. Later on, the was added, which was quite useless. To connect th threads; a l ine of succession;

as wi

lu3, almost similar to in its ancient form. Lu3. The spinal vertebrae. A primitive character that represents the body of two vertebrae, and the disk that joins them; or rather, two spinal apophysises, with the ligament between them

Appendix.

. By extension, tones in music, on account of their

succession. — Phonetic series 291. It forms

Kung1. To bend, to bow one's body , so that the spinal apophysises stand out along the rachis. Later on, replaced , the meaning remaining the same; to bend one's body . By extension, body, person. — It forms ch'iung2, to be at bay, exhausted, driven into a er ( corn cavern); misery; limits, end.

Note. The in the following characters are probably primitives unconnected with

Yung1. An old form of . Moats of a city (two walls or buildings). L. 12 G.

Ying1. Encampment, a primitive settlement. In the more ancient form, there are two (several) tents or huts, In the modern form, there are huts with a fence, and two fires, for the kitchen, or to frighten away the wild easts. By extension, to measure, to scheme, to regulate. Compare 34 B, 126 F.

b


Kung1. A big building. Several rooms under the same roof. This character is used to designate the Impe rivate residence, from therial p Ch'in2 Dynasty. Now, in and , it is written and not

LESSON 91.

About two compounds o

f (L. 90), and' , that form important series. First series. hsuan2.

Hsuan2. To put (L. 15) the thread in the dye; dyed thread; green colour (later o , the black one, on account of certain Taoist . Under the

ntheories)

Ch'ing Dynasty, the of was suppressed, because this was the the Emperor K'ang-hsi. An ancient form wa mposed of

personal name ofs co

thethread (L. 92), and of two points that mean dyeing; — It is the 96th radical. Phonetic serins 1 composition, 24. — In means, either green, or a siring (probably because the thread was dyed by big hanks). Note the derivatives

Hsien2. The, str ing of a bow . Stringed instruments in general. is altered, as stated above.

Ch'u4. Hsu4. The fields (L. 149) green, covered with grass; meadows, pastur s where the cattle graze. Hence two meanings, a two sounds: ch'u4

e-landnd

cattle; hsu4 to feed. — Phonetic series 525.

Ch'ien1. To haul along an ox by a rope ; represents the traction or the resistance;


Shuai4. It represents a net with a frame, such as birds are snared with, and a rope by meaas of which the trap is made to By extension, to draw, to lead, to follow; together (the birds taken); suddenly (the fall ing of the net). — Phonetic series 646.

fall.


Second series. ch'uan1.

Ch'uan1. Some commentators say that this character is a contraction of and ; it seems unlikely, "lt is an ox led by a ring passed through the nose», says the Glose; why then is this ring marked at the tail? More seemingly, the transversal piece fixed behind the horns represents the yoke or the collar of the ox, and the one trace passing under the animal is the primitive harness; extremity curved to diminish the length. By extension, to attach, to draw, traction, resistance, to master. — It forms

Chuan1. A writ ing tablet that was worn attachedto the

wrist;

series 605, that must be distinguished from the series — Phonetic

fu1 528.

Hui4. It has two meanings: to let one's self be willingly attracted; kind, compliant: what wins the hearts; benevolence. — Phonetic series 689.

Yuan2. A long robe with a trail, that hinders and slakens the walk; length, hesitation. Here lost its middle-part and is gone through by the cover

of . — Phonetic series 587. It forms Huan2. Eyes (L. 158) anxious, and gait hesitating; fear, trouble, strait. The modern form is contracted. — Phonetic series 734. See L. 16 L.

T'i4. Traction interrupted by a resistance;

Compare L. 91 C. The modern character is a contraction. K'ang-hsi wrongly classified it under . — It forms

T'i4. Sneezing. A victory won against the obstruction of the nose (or of the mouth, a different

writing);


LESSON 92.

About the partial primitive , and its derivatives. See again the whole series, after ssu1, LL. 89, 90, 91, 92. The textile matters, chiefly the silk, interested the C ese from the remotest ant iqui ty ; hence the importance given to these elements in their writing.

First series.

hin

mi4. Mi4. A strong t h r e ad ; The bottom of this character (a pr imit ive) represents the twisting of several small threads into a big one (L. 90 A). — It is the 120th radical of characters relating to textile matters or tissues. We saw t h a t e l e m e n t in L. 40 A ; L. 55 G; L. 17 E; L. 13 H; L. 79 G; L. 67 P; L. 39 0; L. 35 M; etc.

Hsi1. Drawing out of the thread. Primitively, a hand drawing out threads . Later on, the action of drawing out a t

atiohread. By extension, thread, line,

succession, rel n, to tie again, to fasten; The

c o m p o u n d is used instead now. N o te the derived f o l l o w i n g radicals Mien2. Fibres raw

n (L. 88 A), raw floss. It is

contracted phouetic i mien2, cotton; and in mien2, the cotton plant. These are modern characters. See phonetic series 386. Sun1. A grandson, posterity. The connecting line of the offspring;

— Phonetic series 569. It is phonetic contracted in kun3

Yu2. Succession, seq, big fish. uel, causality, relation;

Winding of the effects from a cause; moral threads. Hsien4. Hsuan2. The chief-town of a district, hsien4, where the executions take place, and where are hung, upside down, the (L. 12 N) heads of the men beheaded because

, to bithey committed crimes. By

extension, hsuan2 nd, to suspend, to be suspended. Now, the compound , to be in suspense morally, is also used for the simple ia the sense, to hang, to be suspended,


Hsi1. Primitively, the guilty women condemned to spinning and weaving in the official prisons, It is explained thus: persons (L. 60), working (L. 49) the thread (contracted). It seems rather that

is a corruption of the bottom of , and that the primitive composition was , a spinster. This punishment having ceased, this character's meaning was altered, and it became an interrogative particle, what? how? why? — Phonetic series 533.

ssu1. Ssu1. The silk-threads, that the silk-worms are supposed to spit out

Second series.

; rding to the compound, thread, By extension, acco

link, intricacy, etc. Note the following derivatives often contracted:

P'ei4. The two reins of a bridle passed in the mouth of the animal that draws a car;

Luan4. Primitively, a hand busy in disentangling three threads, the common main stem of which is contr ed intoact Intri- cacy. This actio matter, when d tience and quarrelli on

n of disentangling any intricateone in common, leads to impang, hence the character became later

, increased with ; general meaning, disorder, relling, trouble, discordquar ;


Hsien3. Two silk threads exposed to the sunlight , where they become visible;

By extension, to be visible, to appear, remar- kable, evident, bright. Note the modern contraction at the bottom of the character. — Phonetic series 778. It forms

Hsien3. A tuft that makes the head

conspicuous. It is now used for , to appear. The latter is contracted in

. A marsh, marshy, wet, humid;

Sbih1 water in which the earth appears; is for ; the were suppressed, to give room

to

232 Etymological Lessons. 92. 93-

Tzu1. The velvety appearance made by the herbs and grass on the surface of the earth; he vegetation;

t Contrac-

tion of into te in t

Compare L. 91 B. This character became obsole hat sense, and is now used as a demonstrative particle. — Phonetic series 579.

Kuan1. To weave. The two (contracted into ) represent the threads of the warp. The down strokes (a primitive) represent the action of the shuttle, that goes through and through, making the woof. Compare L. 84 A. By extension, to join, to fix, transversal, etc. It forms

Kuan1. The cross-bar of a gate, to shut u p ;

Lien2. To connect, to join, to l ink together.

LESSON 93.

About the primit ive Yun 2 . Clouds. The a n c i e n t form, tha t represents vapours cur l ing and rising, is a primitive. The more recent f o rm is composed of ( ,

hon to

L. 2 G ) the skies, a n d of t he same pr im i t i ve . — P netic series 99. Now the m e a n i n g clouds is give the following, while means chia-chieh, to speak, to enumerate, etc.

Yun2. Clouds; When

the humid and warm vapours have reached the colder regions, they are condensed there. Not a bad explanation of the production of clouds.

Yin1. Cloudy weather; Actually , there are clouds. See L.

14 P .

Clouds rolling over the fields; an ancient form of storm, L. 149 F. Compare the old form of L.

73 A, L. 76 G, L. 85 B, etc.


LESSON 94.

About the important primitive straight, inverted.

First scries. tzu3 straight. Tzu3. A new-born child, swathed u p ; it is the reason why the legs are not visible, says the Glose;

In an ancient form, the child has hair; By extension, disciple; then, he ancient Emperors, in them

a sage, a teacher, because t order to honour them, call

sons. — It is the 39th radical of characters mostly relating to children. Phonetic series 33. We saw already in L. 92 B;

L. 30 E; L. 39 H; L. 39 I; L. 79 G; etc. Add the fo l lowing: Tzu4. To bear and nurse; to have children in one's house ;

oppositionBy extension, the compound

characters (by to the simple figures), begotten by the process of composition and

(see p. 10). The made by their authors gave birth to the says the Glose. K'ung3. The swallow (L. 9 B) which in China rears its

mud broods in the fissures and holes of the

Chinese houses; By extension, a hole, an o arerifice, an opening. Comp L. 94 B.

Fu2. A man who swims . There is , a n d not or , because the legs of the swimmer are cealed by the water, as those of the child are

led by its long clothes. It is now writtenconconcea , which is a nonsensical compound;

Forms yu2, to float, 117 B. Note its dissociation into and , on the both sides of . Li3. A prune, a plum-tree; the tree, the children are fond of; Chi4. Infant; The most (contracted) delicate among the children , the youngest, the last. By extension, the last month of each quarter of the year, that ends the season;

hence the derived meaning, season.


Pao3. A bird which spreads its wings to cover its nest ; to hatch, to protect It is now written , that is to be distinguished from tai1, a modern invention of the scribes. It forms

Pao3. To protect, to feed, to keep safe,

a man; — Phonetic series 471.

Fu2. A hen-bird covering with her legs her etic ms

little ones; to hatch. — Phonseries 270. It for

Ju3. The swallow (L. 9 B) sitting on its nest. See L.

94 A. Now, in general, what is required to rear the offspring of men, or th tle

ones of animals: to feed, to suckle, etc.e lit

This is another character, containing thefu2 and of pao3. The hen-bird covers her nest

elements of ,

with her legs, and her wings. It forms the next two:

Pao3. Another way of writing

Pao1. A phonetic compound. Long robes such as the Emperors give; favour, distinction. The scribes altered this character in many fanciful ways,

, etc.

. To bear twins. Formerly, there werLuan2 e two ; then the scribes wrote but one; (L. 92 D) esents the encumbering, the di y in the

bearing and rearing of twins.

Ch'uan1. Many sons. It forms

Ch'uan1. A numerous family filling the house;

repr fficult

By extension,

poverty, misery. See L. 32 G.


Second series. t'u2, which is inverted. T'u2. Birth of a child , the head forward, in the most favourable nce the extended meaning

conditions; he , a thing that goes on

fluently; natu ent. The hairy form (compare ral, regular, easy, flu

, above A), makes a special group (below F). Note the derivatives Ch'ung1. To feed, to rear a child, from its birth till when it

to fuetc. See L 29 F. — Phonetic se

. To satisfy, to feed a

stands, and becomes a man. By extension, lfil, to satiate, to carry out, perfect,

ries 189. Yu4 child (or an animal), so that it becomes fleshy (L. 65), strong, fat. The physical breeding. It forms

Che4 Education, both physical and moral. We know

that the rod is the instrument used for the latter. Compare

L. 39 H. — Phonetic series 665.

T'u2. A synonym of , with the hair added; — Phonetic series 312. Note the following

radical compounds: Liu2. The flowing (natural and easy) of water. There were primitively two , one on each side; the scribes left out one of- them ; Shu1. Birth of a child , the feet (L. 112 C) coming forwards. See (L. 94 E). By extension, unnatural, uneasy; ano , difference, distance, etc. Yu4. Rise

maly and growing of plants ( L. 67 P);

1Hsi . Sour, vinegar. Wine in a vase, in which appear animalculse , the sign that the wine

turns into vinegar.

Ch'i4. To push aside, to cast away, to abandon. An. ancient form represents two hands repulsing a new- born. A more recent form represents two hands, armed with a fork or a shovel, that throw away a new-born. An allusion to the Chinese infanticide. This character was used to name

Hou-chi, who was castby his mother

away Chiang-yuan. See the Shih-Ching, Legge's edition, p. 465.


Third series. altered. Chieh2. One-armed person;

Here it is the right arm that is taken off. The symmetrical character in which the left arm was taken away, existed formerly; it is now obsolete.

Liao3. A child without arms, mutilated; This character, being very easy to write,

and of no use, had its primitive meaning changed into different arbitrary ones. It is now used specially to write the suffix liao3, so frequent in the spoken language. Note the philological definition of the part it plays in that case; ; emission of a sound, in order to knot, to end a sentence.

LESSON 95.

About two primitives and , joined here together on account of their resemblance in the modern writing.

First series. yu3. Yu2. To pass from hand to hand, to hand down, t.o give, communication, connexion;

of two hands, one ceiving. The modern

s. Compare

The character represents the pa lmof them giving, and the other reform is not a credit to the scribe L, 54 H. Chia-chieh, I, we, myself. Phonetic series 96. It forms

Chu1. The shuttle of the weaver; the wood that passes f

to brom one hand to the other. The second

form is e distinguished from jou3, below C.

Shu1. To give out one's goods to the others (L. 14 C). By extension, to unrol l , to expand, at ease.

Yu1. An elephant that passes backwards and forwards, that frolics. Derived meanings, indeci- sion, uncertainty; to frolic; in advance, to prepare.

Hsu4. The East and West halls of the Chinese houses, in which traditional instruction was given, and where the transactions took place. These halls were connected with the principal buildings; hence the derived meaning, a series, order, preface to a book

in which the subjects are stated in order, etc.


Yeh3. In the primitive fiefs established in wildregions, yeh

3 was the intermediate zone between the

cleared centre, and the forest all around; thezone where cultivation of the

soil began. It was in

that zone, that the communications took placewith the barbarians. Later on, when the clearing of forests was finished, the character became

settle- ments (L. 149 D), where the exchanges are made. Actual meaning, the country, rustic, wild. Compare L. 47 Z.

Huan4. Fraud, deceiving, false. It is inverted. To give things differing from those expected, or to give an empty hand, to deceive, to frustrate. The frustration of the beggar's hopes is graphically represented by inverted.

The modern abbreviation is absurd. Not to be confounded with yu4, L 0 A. 9 .

mao2.

Mao2. A kind of halberd, with a very long staff, such as were used on chariots, to hook fighting men.

Second series.

Compare L. 71 F. Chuan-chu, arms, wea- arp or cutting, a long and slender pole. — It is

the 110th radical. It forms

Ching1. The handle of a

pons sh

spear; By extension, to pity, to spare. It represents

probably the warrior who surrenders, by offering the handle of his spear.

Yu4. To pierce with a sharp instrument (L. 15 C). — Phonetic series 720.

Jou2. A slender stem, flexible, elastic, pliant; — Phonetic series 455.

Mao4. Trees shooting forth branches, many shoots, luxuriant, to strive. Forms mao4, moral effort, to exert one's self, merit, glory.


Wu4. To display one's skill in wielding arms. Now , a radical redundancy, to exert ones strength, one's talents, to strife after. — Phonetic series 491.

LESSON 96.

About the primitive ts'ai2. Ts'ai2. This character represents the stem of a plant forcing its way above the ground. (Compare ,

L. 79 A, B, F, etc). represents the stem; p, on the lo represents its branches; at the bottom,

— represe he ground;nts t

By extension, s t rength of expans ion ,

natural activity, mental capacity, power, talents, endowments or gifts; the substance of a thing.-— Phonetic series 30. It forms

Ts'ai2. Materials of which things are made From wood and

by mtalent, the wood being the

first material worked en.

Ts'ai2. Property, precious things, wealth; the cowries acquired by a man.

Ch'ai2. The wolf, au animal ( or ) very clever , say the Chinese.

Ts'ai2. Skilfulness in wielding weapons (L. 71 F); to wound with weapons, to injure; ts'ai2 is also a phonetic. — Phonetic series 241.

Pi4. To shut a door; Here represents a system of bars to shut the

door. Compare L. 1 H. Tsai4. To exert one's activity on the earth;

presence in a place, manifested by one's activity. By extension, to be in or at, to be present, to live, to act;

— The following is derived

from , the being substituted for Ts'un2. To continue to be , present by one's

offspring. By extension, to maintain, to preserve, to continue.


LESSON 97.

About the primitives feng1 and chieh4. Not to be confounded with (L. 48), nor with (L. 100).

First series. feng1. Feng1. Some philologists say that this character is

(L. 79 F), that strikes down its tap root; The study of the compounds makes bable.this opinion impro is a primitive, represen-

ting a leafy bough. By extension, bush, brushwood, hedge. It forms

Feng4 At the bottom a band, offering a habranch (a symbol for any object), while two nds

alte

salute respectfully. Now the top part is strangely red. To offer, to receive. See L. 47 L. — Phonetic

series 354.

Feng1. To walk in the n; to

brushwoods. By extension, to meet oppositio meet;

— Phonetic series 269. Now

Feng1. A synonym of the. last; is a radical redundancy. To et with one, to come across,

etc. — Phonetic series 608.

Pang1. A fief, a country;

me

the central city; e scrirepresents probably the bushy outskirts. — Th bes

often write this character

Sub-series. doubled. The ancient form has different writings.

Feng1. Boughs, shoots, vitality, prosperity, abundance. It forms

Hui4. A broom. A band that holds a bundle of

branches. See the explanation, and the derivative L. 44 J. — Phonetic series 617. A vessel used in sacrificing;Li4.

(vessel, L. 165), The top has nothing In common with (L. 5i B); it

is a cup (L. 38 E), in which is pricked a bunch of green branches for decoration; symbol of plenty. — Phonetic series 744.


Feng1. Prosperity, plenty. It seems that the ancient character represents the Chinese threshing-floor, at the harvest-time, as it st i l l appears in our days. On the ground — levelled, grains are heaped together, and all around the corn-sheaves are ranged... In the modern character, at the bottom, (L. 165) represents a cup; on the top, represents boughs, a symbol of plenty. The cup became . Idea of greatness, of multitude; mou ins of grain, say the philologists;

nta It seems rather that

is a graphical difference of . — Phonetic series 839. It forms

Yea4. Prosperity, abundance. Radical redundancy, for is a s y n o n y m of . See L. 38 G. Yen4. The colour, t he appearance, the looking of prosperity. Gracious, handsome. See L.28 D.

Second series. chieh4

Chieh4. The first mnemonic way invented af ter the knotted strings; the first wri t ing, or rather the first engraving. Notches cu t in a bamboo lath. By extension, deed, document, r d, proof;ecor

It forms

Ch'i4. To cu t a notch w i t h a knife , in a lath that w i l l be used as a record, a d o c u m e n t , or a proof;


Ch'i4. The t i t l e deeds of a

man; A covenant, an agreement, a bond, a contract, — Phonetic series 426.

Hsieh2. To measure before making a contract; land- measurin

Hai4 To injure, to hurt, to damage;

g.

to speak, to write, under a shelter, by stealth, against somebody ; — Phonetic series 529.

Etymological Lessons. 97. 98 241

Hsien4. To apply, in one's study, one's heart and one's ten eyes, to the study of documents. By extension, to draw up laws, a con titution, rules, etc.

Lei3. A harrow. A piece of wood

s

with dents, says the Glose; The modern form has one h radical of characters perta

Hai4. To be

dent less. — It is the 127tining to tillage.

entangled in litigations. Compare leng1, above A.

Ching1. It has nothing in common, either with ( L . 75 K), or with (L. 73 D). Two brothers (L. 29 D) holding each one their sharing contract ; mutual respect of ri deference, good underst

ding; ghts; an-

The modern is contr

LESSON 98.

About two primitives,

formacted.

and , that are not connected together.

First series. ch'i4

Ch'i4. Curling vapours rising from the ground and forming clouds above; Compare the ancient form of

hclouds. (L. 93 A). The scribes

often contract this c aracter into , that is now used (chia-chieh for ) in order to mean, to beg. — It is the 84th radical. Phonetic series 15. It forms

Ch'i4. Vapour ascending from boiling rice. This character was practically substituted to the last. It plays an important part in Chinese philosophy. — Phonetic series 515.


Second series: tou3. Tou3. A measure of ten ladles or pints; a peck; The ancient forms represent a ladle and ten. The

s are mutilated. — The scribes sometimodern

form mes write for , e.g. for ; it is cence. — It forms

the 68th radical. Phonetic series 84. It forms

Liao4. To measure grai

a li

n with a peck ; Chuan-chu, grain, substance, to calculate.

K'o1. To measure corn with a peck; mination;By extension, a class, a rank; gradation, exa

Each degree received a fixed quantity of grain.

Chia3. A hanap of the size of a peck, in order to drink together.

Sheng1. A measure ot ton itra

handfuls, a pint. The modern forms are arb ry contractions. Chia- chieh and mean, to rise in office. Cf. above. — Phonetic, series 81.

LESSON 99

About the partial primitive , both straight and inverted.

First series. straight, ch'ien4. Ch'ien4. To breathe. A man

(L. 29) who breathes

. This latter element, a synonym of (hica

L. 98 A), says the Glose, somewhat differs grap lly from it, therefore is a special partial primitive;

By extension, to get out of breath, to be exhausted, to owe money, deficiency. — It is the 76th radical. Phonetic series 44. It forms

Ch'ui1. To blow, to puff, to scold;

Ts'u4. Idea of succession represented by two successive breathes, inspiration and expira- tion; — Phonetic series 244.


Hsieu4. The saliva g good to eat is sm

that flows in the mouth, when somethin elt. ;

To desire, to covet.

Hsien4. To covet; an overplus, an excess

It forms

; The is supposed to be contracted.

Tao4 A robber, to plunder; Those who covet the goods of their neighbour;

K'uan3. Primitively, to blow against a malignant influence , as the pagans still do, in order to preserve it either on'es self or others. By extension, affection, care, etc. The scribes found out many way writing this character. The third of them is ssic, the last is unauthorised. Not to be confounded with

from

s of now cla

i2, L. 131 G.

Second series. inverted, chi4.

Chi4. To breathe into, to swallow. It is the reverse of , composed also of and of , but inverted;

The second ancient form is a mere t to be confounded with tsan1 (L. 26 abbreviation, no

D). — It is the 71th radical. See chi4 (L. 26 M) It forms

Ai4. To swallow down in one's heart, to love, to be fond of, kindness, favour. Now this character, joined with , made , that has -chieh the same meaning as the radical had befo itively it meant, gracious gait;

chiare. Prim



LESSON 10O.

About the primitive mao2, both straight and inverted. Not to be. confounded with (L 48)

First series. straight. Mao2. Hair, fur, plumage; By extension, feathers. It is the 82th radical of characters relating to hair and feathers. Phonetic series 70. It forms Lao3. Old, to grow old, seventy years old. A man

whose hair transforms it.self, changes to while. See L. 30 E. Note the contraction of the modern character. — It is the 125th radical of a few characters mostly relating to age. Piao3. The ou ter surface of garments. The first garments were skins worn with the hair outside. See L. 16 K. The modern form is contracted- — Phonetic series 389.

Ts'ui4. from thrice repeated, to denote its fineness. H a i r t h i c k a n d soft , l ine f u r s ;


Second series. inverted , in I3. Wei3. The t a i l of animals. From body and

tform

he h a i r at the lower part. In the modern recent , the, scribes wrote instead of . See L. 32 D.

It is often compressed , or contracted, reduced to or to , in the compounds. It forms

Sui1. Niao4. Urine. From tail and water. See L. 32 E. The modern form is contracted.

Ch'u1. Oppression, vexation, curved. Composed of and , L. 78 E. The modern form is contracted. honetic series 348.

Hsi1. The Thibetan yak.— P

os with a long hairy tail . The tail of t he yak was nsed in old China to make military standards. — Phonetic series 679.

Tai4. To hold by the tail (contracted into

It is, and altered in the modern form). See L. 44 E. — the 171th radical. It forms (contracted into )


Tai4. To wink, to catch with the eyes, says the Glose. This explanation seem probable. The character is composed of

s im eye and of eyelashes.

The covering of the eye-ball by the eyelashes, could not be represented in the elementary design. It forms

Huai2. To hide in one.'s clothes, to carry in one's bosom.

L. 16 J. — Phonetic series 820.

Ch'iu2. It is explained like

tai4, to hold by the tail (contracted); to ask, to implore. See L. 45 K. It ltered in the modern writing, and wrongly classified by K'ang-hsi under

was a{L 125). — Phonetic

series 263. Compare lu4 .

LESSON 101.

About two primitives

, L. 68 F

and

First series. wu4.

Wu4. Three pennons attached to a stick; a flag; By extension, 1. Jerky motions, as that of

by the wind (L. 52 F); 1. A decree, n, a defence, an order made to soldiers

ag; 3. Objects laciniated or folia ted; sudden hsi wrongly classified this primitive under

pennons agitateda prohibi t iowith a flrays. K'ang-

. — Phonetic series 90. It forms

Hu3. Jerking of the heart , emotion, surprise;

a knife, and Wen3, To cut the throat; the

blood that gushes out from the severed arteries of the neck.

Wen3. The lips: strips (of flesh) that close the mouth

H'u1. A small book made from strips of bamboo.

Wu4. A thing, a being, an article. An ox ; is a mere phonetic. The oxen were the most va ings in ancient times

lued th.


Yang2. The sun above the horizon, shooting its rays; l ight, solar action, etc. — Phonetic series 492. Note the following phonetic complexes that form series.

T'ang1. Water, infusion, hot decoction; — Phonetic series 707.

Shang1. To wound with an arrow; (L. 131), In the compounds, is

reduced to placed on the top of ; the radical is placed on the, left side, instead of , e g etc. — Phonetic series 643.

Second series. i4.

I4. It represents a lizard, probably the chameleon. A pr imit ive. On the top, the head; at the bottom, the light feet of the reptile; By extension, alert, easy, to change, to transform. honetic series 365.

LESSON 1O2.

About the primit ive

— P

kan1, a n d Ihe im por t an t series derived from it. An appendix wil l treat a r i m i t i ve bout the p tsao2.

First series. kan1,

Kan1. It represents a pestle. Compare L. 130. By extension, to grind, to destroy; morally, to oppose, to offend against; blunt arms, offence, injury, etc. — It is the 51th radical of a few unassorted characters. Phonetic series 22. It forms

Ch'a2. The pestle in the mortar (L. 139). To pound, to pierce, to drive into or stick in. — Phonetic series 421.

Han4. The torrid and destroying effect of the sun ; drought, dryness.


Keng1. To bark the rice by pounding it in a mortar. This was the main daily domestic work among the ancients. Compare L. 47 N.

K'ang1. To decorticate rice. Chuan-chu: 1. The chaff detached from ed grain, now the pound :

Phonetic 2. The repose that follows this hard work. — series 6S3. It has nothing in common with L.

44 E.

Jung1. Ordinary, common, as the decortication of rice,

c for every-day use. — Phonetiseries 621. T'ang2. The words that accompany the pounding of rice; idle gossip, noisy wrangle. —


She2. The tongue stretched out of the mouth Here

i t ivparemouth tongueing

monthcompound

represents the tongue, and is a par tial special prim e, that is not derived from kan1, L. 102 A. Com , L. 55 K, han2, the tongue drawn back into the . Compare the ancient forms given here t. The, held out of the mouth she; 2, The tongue retir in to the mouth; 3. The tongue enclosed in the han2. — It is the 135th radical. Note the

t'ien2 (L. 73 B); what is sweet to the tongue; sweet. Note: she2 does not form a phonetic series. The one that is sometimes attributed to it (Cf. Gallery, N° 262), belongs to the character kuo2 (L 114 C), contracted by the scribes into , and often into To add to the confusion, t'ien2 forms phonetic complexes in which it is tracted into con These compounds may be found in the series 227, derived from kuo2; they may be recognised by their sound

ien. Examples:

Tien2, from contracted. Huo2, from


Second series. I4, ni4.

I4. This character, says the Glose, is doubled (though incompletely) to mean th he attack was repeated, because it met with resistanc . Hence the derived meanings, to attack., to re opposition, obstacle. Now

at te

sist, It forms

Ch'ih4. To attack a man in his house; to expel, to turn out of the house, to scold, to strike or cuff. Note the modern abbreviation, the only one used now. — Phonetic series 112.

O4 To resist to somebody, to check him openly with cries and scoldings. The sc changedribes into (L. 58 E), and this strange alteration co ly admitted. See L. 72 F. — Phonetic series 470.

Shuo4. The new moon; when the

was mmon

moon being ;opposite to the sun, refuses to receive its light


ccup, suffocation, asthma, coChueh1. To have hi ugh; an obstacle that impedes breathing (L. 99). It

forms

Ch'ueh2. A steep acclivity (L. 59), the ascension of which puts out of brea This character lost that meaning, and is now us as a demonstrative pronoun

th. ed

; _ Phonetic series 673.

Hsing4. Fortunate, lucky. A man (L. 61 B, written ), who gets, over opposition, who triumphs over resistance; — Phonetic se

founded ith ries 361. Not to be con-

w nieh4, be low G.


Third series. ch'ien2.

Ch'ien2. To offend (L. 102 A) a superior or (L. 2 G); offence, fault, crime; In the modern writing, on the top of different pounds is reduced to com , that must be distin-

guished from li4, L. 60 H. By extension, to attack, to face, etc. ms

Ch'ieh4. A guilty

It for

woman , or a culprit's daughter enslaved according to the ancient custom;

See L. 67 E. Now it means, a concubine, an accessory wife. — Phonetic series 331.

T'ung2. The counterpart of the last. A boy, a lad tinder 15 years, who became a slave for a great crime committed by his parents. — Phonetic series 716.

I4 An angry boar that assumes the offensive ; bravery. See L. 69 H. — See also L. 73 C, and L. 15 G.

jen3.

Jen3. This character is composed nearly as

Fourth series

(L. 102 D). It is (L. 102 A) increased by one stroke. The idea is of an offence repeated or aggravated, that

Derived meanings, relapse, recidivation, obduracy. See nan2, L. 79 G. It forms the two

es important sub-seri nieh4 and hsin1 (below).

Sub-series. nieh4. Nieh4. A man (L. 60) who committed a crime; a criminal;

i th Not to be confounded w hsing4 (L. 102 D); both are now written in the sa ay. Not to be. confounded with

me w t'a4 (L. 60 C). Note the derivatives


Chih2. To apprehend (L. 11 E) a criminal; By extension,

to seize, to maintain , etc. — Phonetic series 601.

Pao4. To repress (L. 55 C) evil-doers;

By extension, to denounce them, to state, to inform; hence the modern meanings, a report, an announcement, a gazette.

I4. To keep a watchful eye (L. 158), over the criminals; vigilance;


Yu3. A prison. The inclosure where criminals are confined;

Chou1. To flog (L. 43 D) a criminal till he is bleeding (L. 157). The scribes substituted to , and suppressed the of ; then K'ang-hsi clas-

sified this character under

Chu2. To convict a criminal , in the Chinese way, by d in t of rattan strokes (L. 77 B), and of cries (L. 54 E).

Sub-series hsin1. Hsin1. Composed of and (ancient form or

L. 2 G); to offend one's superior; and consequence of it, chastisement, pain, bitterness; the

The ends of the first horizontal lines are generally turned up, the scribes deeming is to be more gracious iu that way. — It is the 160th radical. It forms

Tsai3. A criminal at the tribunal, judged and chastised;

By extension, to govern, to judge, to tures, to slaughter. — Phonetic

Tsaiorder the legal tor

series 574. — 3 contracted in to is phonetic in tzu3, Roltlera japonica, a hard wood, instruments for torturing were made of.


Pi4. The man who slates authoritatively about the criminals (L. 55 B ;

Prince, law, chastisement, etc. The scribes changed into


Chen4. The Chinese hazel, wood for the criminals, because the rods were made of it. It is phonetic in

Ch'in1. Those who are seen habitually; one's self, one's kindred; by e sion, to love, to embrace; xten

junction. — Phonetic seri

It lost one stroke in the es 818.

Hsin1. To cut (L. 126) smal l branches (o f the hazel); shoots of the year; henc meaning, recent, new. Now

e the fuel, wood cut for the fire, brush-wood.

Nieh 4 . Offence, sin For the phonetic, see L. 86 B. The meaning is probably an offence visible, evident, public.

Ts'u2. To rid of an accusation, to clear one's self, to excuse one's self. See L. 90 B.

Hsi1. A contraction of hsi1, yak, L 100 B, now commonly used, e.g. in chih4, etc.

Tsui4 . To commit a c r ime ( L. 159);

thisIt appears that some malicious literati substituted character to the of the i r enemy, the First

Emperor Ch'in-shih-huang This Emperor not over flattered to be called the «fir rdered by an Imperia l decree that in future sin should be written

st s inner ", o , the anc ient character becoming

taboe; This p r imi t ive ly meant a net (L. 39 C); (L 170) being phoneti

Pien4. Two criminals

c.

impeaching each other; It forms interes- nserted ting compounds in which the radical is i

between the two etc. — Phonetic series 786.


Appendix. The primitive tsao2.

Tsao2. This character is unconnected with the preceding ones, , etc. !t is a primitive representing he successive division and sub-division of a tree's

branches, the boughs, the twigs;t

Hence, arborisa- tion, emanation, multitude, ollection. It forms

tr

faggot, c

Ych4. A ee crowned wi th its foliage. The a man, the affairs upon

nd what the acquires by merits, goods, titles, etc.

u

moral foliage, the deeds ofwhich he exerts his activity, ahis doings, viz.

P' 2. To g'ather with one's hands twigs , in order to m e with them a fa700. The compound

ak ggot. — Phonetic series forms an unimportant

sub-series.

Ts'ung1. To gather bushes . A bushy place, crowded; a collection, to collect. See L. 146 F.

Tui4 To confront, to compare, and, by extension, to correspond to; To apply a measure to the luxuriant vegetation of the ths, viz. to the t monies of men, to see

hey agree or not. Compare the composition of

mou estiwhether t

(L 73 C). To recall to his officials that one mu t rely on every st no mouth's testimony, but o on the testimony the nly of sages, which alone deserves to be examined, the peror Em Wen- ti of the first 4 changed by decree. Han into , thus making the modern character, wacted by the scribes.

Chih3. Delicate leaves

which s contra-

, embroidered upon linen , is contracted ;

See L, 35 G. — It is the 204th radical.

Tsao2. To chisel, by delicate cuts, with a chisel, in metal, so that designes of leaves and branches be reproduced. C elling in general. Compare (L. 81 A)

his to pound grain, to grind.


LESSON 1O3.

About the primitive yang2.

First series. and its multiples.

Yang2. A sheep seen from behind; the horns, the head, the feet and the tail of a sheep. The tail is often curtailed, to make room for a phonetic;

Idea of sweetness, of peace, of harmony. — It is the 123th radical. Phonetic series 248. It forms

Ch'iang1. From men and sheep. Nomadic shepherds living in the Western steppes; the Thibetans.

Mei3. A man resembling to the lamb, sweet, gentle, good;

Kao1. A lamb that begins to walk. The feet being already represented in , th

ittle oere is a radical

redundancy. By extension, the l nes of different animals .

Chiang1. The clan (see L. 79 F) of the Emperor Shen-nung; is phonetic.

Yang3 To nourish (L. 26 M) ; is phonetic. — Phonetic series 814.

Yang4. The unceasing flow of water. See L, 125 D; is phonetic. By extension, uniformit odel, te ess. — Phouetic series 659.

Hsien1. Composed of

y, mdiousn

fish and sheep, the two kinds of flesh that were eaten fresh by the ancients, while they cured the other meats. By extension, fresh (neither salted, nor dried, nor

smoked). — Phonetic series 832.


Keng1. A thick broth, soup. Composed of and ,

Prim a modern abbreviation invented by the scribes.

itively, a lamb stewed on a caldron; on both sides, the vapour that rises. See li1, L. 87 B. — See again L. 60 0; L. 44 B; and L. 71 Q; L. 73 D. — See also L. 16 C, that is unconnected with

Shan1. Three sheep, a flock of sheep. By extension, the rank odour of sheep or goats. It forms the following.

Ch'an3. A sheep-fold; (L. 32 G) By extension, crowd, press.

Second series. kuai1.

Kuai1. Horns of the ram. It is without the feet; It figures in different compounds,

see L. 35 M, 54 G. The modern scribes as a symbol;often change it into

Kuai1. Ramified (twice L. 18, d iv is ion) ram's horns ; odd, singular; The modern character is aphonetic compounds

Huan1. A big

bsurd. It forms the two

owl, the Grand-duke, with feather-horns, egrets;

Forms the three following characters

Chiu4. A sort of owl, (L. 139) is phonetic. It now means, chia-chieh, old, worn out, formerly.

Huai2. Huo1. To seize (an owl) with the hand. — Phonetic series 782.

Kuan4. The heron, a screeming bird with an egret . — Phonetic series 841.


Kui2. A demon that wanders through the mountains. It is said to have horns. This is a false interpretation resulting from the ill-formed modern character. See the ancient form: a face of demon, two arms, a belly, a tail, and two feet (L. 27 I, note 1).

Chi4 and Man2. See L. 35 M, L. 54 G.

Ya1. A fork, crooked. Now, appellative of girls, ya- t'ou, on account of their two tufts of hair. — Some interpreters consider as an abbreviation of the ancient character a tree whose branches are forked. It is the it is given here.

LESSON 104.

About the primitive

reason why

pan1.

Pan1. A sort of fork, or shovel, which it represents; It was altered in

different ways by the modern scribes. It forms

Tan1. To assault a man with cries and a fork. See L. 72 E. — Phonetic series 705.

Ch'i4. To repulse, to expulse. Two hands with a shovel, casting a child away. 94 G. Note the modern al

Feu4. The modern character is totally distorted. The top is not

See L.teration.

, but (L. 123) Ordure, filth. Two hands removing a shovel with the dung of anim

als;


Pi2. This character represents two ancient instruments: 1. A shovel upon which was ottered the meat

at the e n d of the sacrifice, hence the derived meaning, to end, which is st i l l used in o u r days; 2. A

racket

wi th a net, resembling the butterflies net, to catch small animals. This character has those two meanings in very ancient texts. — Phonetic series 640.

Kou4.Some consider this characteras being composed of two .

the sication

represent a n d

one being s traight , the other inverted, while troke at the bottom was suppressed for simplif 's sake. This explanation seems to be far

fetched. Kou4 is a primitive, whose straight and crossed lines graphica l ly the t imbers in the frame- work of a house, as they interlock cross each other; hence the idea of a net-work, an ordering, a combination. This notion is hinted in the compounds,

, etc.


LESSON 105

About the primitive ko . Ko2. The raw skin of a flayed sheep, as it is stretched out. To skin. The fork in the middle is or a sheep, contracted (L 103); the two horizon ines tal l

mean that the skin is stretched out, two hands or ersscrap

dy working it. The second ancient character

is alrea contracted; By extension, to skin an officer, to degrade

h i m from office wi th a line or a confiscation. — It is the 177th radical. It forms

Pa4. Leather drenched by the rain, that stretches out when it is drawn. It forms

Pa4. Lengthening of the moon , in the first for tnight of the month; growing, prosperity. This character was used to designate the feudal princes iu ancient times; doable idea of growing in glory, and of

glory borrowed by them from the Emperor, as the moon borrows its light from the sun. — Phonetic series 355.

Chi1. Trammels. Leather

to t r ammel a horse .

represe In the primitive form, the leather was not

nted; horse,later

represented the trammel p u t to the feet of the and the peg to tie it up. The leather was added on. Then was suppressed.


LESSON 106.

About several representations of animals or other beings, primitives either complete or partial, gathered here on account of their resemblance.

First series. swelling on both sides, in Ku3. A man (L 29) whose sides are swollen, because he makes an effort;

Mien3. A man (L. 25) whose sides are swollen, whose legs are propped; to ort to get some good or to avoid some evil

wake an eff;

— Phonetic series 295. Tou1. A kind of helmet with appendixes on both sides to cover the cheeks; et, a cowl; a helm mao4

(L. 29 C) represents a man, head and Iegs; By extension, to cover,

to envelop. — Phonetic series 651.

Second series. t'u4, a hare or rabbit. T'u1 It represents a hare when it is squatting, with its t a i l perked up ; It forms

Yuanl. A h a r e u n d e r a cover t ,s, to sion

whence it is u n a b l e to run . Derived meaning in ju re , to i l l -use w i t h o u t cause, gr ievance , oppres , the hare being an inoffensive an ima l ;

See L. 34 H. 3. The female of the hare,Mien By extension,

to bear, by allusion to the fecundity of the doe-hare.

I4. A hare that runs away, By extension, to l ive like a hare, to lead an idle and licentious life; the hare being looked upon in China as the type of profligacy, and very ill-reputed.

Third series. ch'ao4. Ch'ao4. It represents some animal resembling the hare; This character, combined with (L 106 B), forms

2Ch'an . The numerous tribe oi the rodents. — Pho- netic series 828.


Fourth series. huan1. Huan1. A sort of antelope; On the lop, the horns (L. 103 C); represents the head;

and a tail, which isaracter. This was wrong

r

at the bottom there are paws often omitted in the modern ch ly classified by K'ang-hsi unde vegetals. — It forms

K'uan1. Large, spacious, ample in the physical sense; broad-mindedness, indulgence in the moral sense. This idea may come from the width of the paddocks reserved for the breeding of these animals.

LESSON 1O7.

About two primit ives

a n d , much a l i k e in t h e ancient writ ing.

First series. hsin1. Hsin1. It represents the heart; On the top, the pericardium opened; in the middle, the organ ; at the bottom, a summary delineation of the aorta The extended meanings are very numerous. There are modern abbreviations as here joined. — It is the 61th radical of characters relating to the feelings. Phonetic series 61. Many derivatives from were already explained, e.g.

o4, wu4, L. 82 H; ning2, L. 36 C; chi2, L 19 D. nien4, L. 14 N; te2, L. 10 O; ssu1, L. 40 A; etc. Let us recall here that pi2 (L. 18 G), has nothing in common with — Note the following multiple:

Jui3. The heart of the flowers; It is now wr i t t e n

Second series. yeh*. Yeh3. H represents an ancient utensil, either a funnel or a rhyton; — Phonetic series 37. Note: The scribes introduced the most regrettable

confusion between the derivatives of

, and those of (L. 108). The Shuo-wen ascribes to : and to etc. The cause of the confusion

was that was and is still sometimes written The was placed where it was not required, and omitted where it was required; then the dictionaries set down all those errors of orthography.


LESSON 108.

About the primitives and

To1. A snake (See L. 110) that s tands on its tail , distends its neck a darts its tongue out;nd It is often written , and sometimes See L. 107 B, note. — Phonetic series 165 and — In the ancient writing, the head of the two following is alike.

Kui1. A tortoise, which is described by the Glose as an animal having its flesh inside and its bones outside;

126.

The character represents the l and the tail A more ancient tortoise-shell ornamented

wi th stripes, and a summary delineation of the head and of the tail. — It is the 213th radical, it forms

Chiu1. A contest

head, the claws, the shelcharacter represented the

(L. 11 I) settled by divinat ion. A singed tortoise-shell was formerly used for that pur See L. 56.

Min3. The soft turtle. The character was then applied to mean a tadpole; the head, the gills, and a tail (L. 79 I). It is the 205th radical. Phonetic series 749.

Luan2. A primitive representing the ovaries and the oviduct of the female, the testicles and cords of the male.

Kuan1. Another primitive, and not an abbreviation of luan 3 . l t represents the shuttle, that passes and

repasses, inserting the transversal thread of the woof between the longitudinal threads of the warp. See L. 92 G.

pose.


LESSON 109.

About the prmitive ; about and its important series.

First series. chung1. Chung1. The centre. Chung4. To hit the centre, to attain. It represents a square target, pierced in its centre by an arrow. Later on, the target was contracted by the scribes and changed into a form somewhat like (L 72); but the primitive form is still maintai the seriesned in . To represent, in a design without perspective, the ration of the target, the two extremities of the arrow were marked with

perfo a

sign, or the extremity that passed through was curved; these are mere graphic tricks; — Phonetic series 52.

Different compounds of were explained elsewhere, L. 16 E; L. 67

N; L. 73 E; etc. Compare L. 153. See also and

L. 43 M. N.

Second series. yung4 and its derivatives. Yung4. This character primitively represented the bronze ex-voto offered to the Ancestors, placed in the temple as a memorial for their offspring. Afterwards it was given the shape of a bronze tripod The vessel was used for the offerings to the Manes, hence chuan- chu to use, usage. The offerings brought blessing, hence chuan-chu aptitude, efficacity, utility, etc. — It is the 101th radical of a lew incongruous characters.

Chou1. aptitude ( the old form L. 19 E) extending to every thing, general, univ l; hence the derived meanings, propagation, unive y; totality;

ersarsalit

The scribes arbitrarily changed into . — Phonetic series 342

Fu3. Aptitude for founding and governing a family (L 43 G), the manhood. Then a definitive appellation was taken by men. Hence the extended meaning, I, myself. — Phonetic series 271. It forms


Fu1. The hand ( f o r L. 45 B) of a grown up man. Derived meanings, action, amplitude. — The

modern scribes imagined to write , and this faulty t ing became classical in the characterwri fu1, to

spread out , to promulge. — Phouetic seri 8. It forms

P'u3. A wide

es 52

expanse of water. By extension, large, general, universal, etc. — Phonetic series 753.

See L. 55 K; L 102 B; L. 54 G; etc.

LESSON 110.

About the pr imit ive , and its derivatives.

Hui1. A l l k in d of c rawl ing animals , snakes, worms, etc.

Compare L. 108 A. — It is the 142th radical. See L. 43 1, and L. 21 B. Note further

Ch'iang2. A bow (L. 87 A) that shoots its arrow above several acres of land (L. 3 C), a strong bow. By extension, s g, good. This character being diff icul t to laced by

tron write, was rep , a name of the

same sound which represents an in , Elater the snapping beetle, that unbends a bow

sectlike when

it fel l on its back; represents the insect, its head, which was arbitrarily changed into by the scribes. — Phouetic series 668.

K'un1. Insects that are numerous at certain times of the year ( two to intimate the great number); e.g. shih1, formerly fly, and now louce; chung1.

locusts; wen2, mosquitoes; li3, book-worms; ts'an2, silk-worms; etc.


Ch'ung2. An ancient term for all crawling and swarming animals, insects, etc. It is found in

Ku3. Chronic diseases, the etiology of which escapes the Chinese, as tuberculosis, syphilis, etc. — Some suppose that. worms corrode the interior of the

body;

— Others explain that these diseases are caused by the venom ed with food and d r ink Hence the dreadful fear of the Chinese

the gecko (a lizard found in all the houses); also for rain-water ough a roof, because it is supposed to be soiled by the venom there; etc. This etymology seems to be the right one,

belter the word

of animals, swallowfor the urine ofthat has f i l tered throf scorpions that livebecause it explains vessel; poison of the worms taken with

food; — Moreovgrinding in a vessel

er, there are who say that the magicians make a poison slow and sure, by different sorts of venimous worms. This seems to be

rather a legend.

LESSON 111.

About the primitive , and its compounds.

K'ui4. It represents an ancient recipient, either a basket or a bag. Note the modern abbreviation. I

K'ui4. Not mean, or cheap; a whole

t forms

basket of cowries; The ancient form is unexplai- ned, It appears in the ancient character L. 44 G. It is perhaps an abbreviation of the last — Phonetic series

Ch'iea . To carry soil in

693.

3 baskets, in order to erect a wall, a dike, as it is still done in China (L. 86 B). It is phonetic in

Ch'ien3. To commission, to depute. — Phonetic series 773.


LESSON 112.

About the primitive , and its important derivatives

First series, chih3, its compounds and multiples.

Chih2 A coarse representation of a Toot, or of the footprint; on the left side, the heels; on the right side, the toes; on the top, the ankle;

Derived meanings, to march (the feet moving); lt, to stop (the feet being still), etc. — It is the radical. Phonetic series 46. We saw the derivatives

to ha77th

L. 44 F; L. 44 K; L. 66 D. Add the fo l lowing:

Ch'i4. A man rising on his heels;

Ts'u3. To turn one one's heels ( L. 26). Now chia-chieh used as a demonstrative pronoun, this. — Phonetic series 242.

Ch'en2. A firm gait, by posing well the foot (L. 63 D); It forms

Yen2. A gait firm an steady (L. 7 ) ;

Phonetic 4

17. Not to be confounded with the derivatives of

series

below I.

quadrupled, two being straight, and two inverted (altered in the modern writing), forms

Shih4. Rough, rugged. An irregular surface, that obliges to many steps in different directions. The modern contractions

e., now replace the ancient

form difficult to writ


Second series. tsu4.and shu2, both being composed of the foot, increased with a symbol

4Tsu . A foot at rest. By extension, feet in general. The stillness represented by the closedis . Compare below C.

It is the 157th radical (two modern forms). Phonetic series 310.

Shu2. Foot in motion, to turn. The motion is represented by the open . Compare above B.

The reading p'i3, in the sense of rolled up piece, is a modern chuan-chu. — It is the 103th radical (two modern forms). — It forms

Shu1. Birth , the feet coming first. Different extended meanings. See L. 94 F.

Hsuan2. To turn on one's heels; (L, 117) is phonetic. — Phonetic series 614.

Ch'u3. A woody land; is phonetic.

Hsu1. Gravy ; is phonetic. Phonetic series 448.

Tan4. The ball rol led by the dung-beetle. By extension, egg.

. tsou3. Tsou3. To march. A man

Third series who bends (L. 61 B)

to walk quickly and with h strides; to go, to travel, to sail

asty;

h radical of characters relating to m— H is the

156t odes of going.


Fourth series. cho4. Cho4. To go step by step. It is composed of and

(L. 63 A), say some philologists. It seems more probable that are three footprints. Not to be confounded with (L. 63 D). — It is the 162th radical of a of characters relating to movements, e.g.

large group chin4, to advance, t'ui4 to

move back, etc.

Note: In some modern characters, the scribes divide ; is placed on the

right side, underneath the phonetic; is placed on the left side. K'ang-hsi classified those characters under the 60th radical. Examples:

T'u2. To go;

follow;Ts'ung2. To

Hsi3. To move one's abode. — Phonetic series 611.

Fifth series.

icom

nverted is not used alone, but forms, when bined with straight, two important series. In

the first, G, th rms are superposed, ande two fo inverted is now written (not to be confounded with

, nor with , L. 18 H, M). In the second, H, the two forms pl in juxtaposition are now writteaced n

Pu4. A step, to take a step, to march; The character represents the succession in(compare

the steps L. 63 C). By extension, the planets,

stars that . H forms

She4. To step

move

in water, to ford, to wade over. Hence

Pin2. A man (L. 160) who wades throogh water; uneasiness. In the ancient char , acter was introduced between the two , to gain room, In the modern character, was suppressed. — Phonetic series 825.

266 Etymological Lessons: 112.

Chih4. To ascend step by step an acclivity (L 86); It forms chih1, merit, to promote.

Sui4 The planet Jupiter, that presided over the wars. See L. 71 P. — Phonetic series 760.

Po4. Two in contrary directions; idea of two feet; or of separation, divergence, letting loose. — It is the 105th radical. Note the derivatives

P'o2. To stamp with the two feet, to trample. It is now a part of

Fa1. To shoot an arrow, and, by extension, any expansion, any manifestation of a latent energy. The modern form (to trample with a bow) is a nonsense. In the ancient primitive character, there was

an arrow, instead of ; shooting of the arrow by the bow. — Phonetic series 675.

Teng1. To ascend upon a pedestal, firstly with one foot, then with the other. By extension, to ascend, to go up, in general. — Phonetic series 708.

Kui3. The nicely disposed grass, on which the An- cients poured the libations offered to the Manes; see Graphics, page 362. This character, not easily written, was replaced, in the days of Li-ssu, by plus , probably the primitive form of fa1 (above). T o- dern form has been arbitrarily mutilated by the scribes. Now chia-chieh a cyclical character. — Pho- netic series 458.

he m

Sixth series. cheng4. A special series is reserved for this compound of , on account of its important derivatives.

Cheng4. To be arrived and to stop at the — line, at the limit, where one had to reach, without going astray; By extension, correct,

ries 107. It forms straight, regular. — Phonetic se


Ting4. Order in the house, and, consequently, tranquillity, peace;

d, certain, decided. — Phonetic By extension, fixeseries 400.

Shih4. What was controlled at sun's light; The Glose compares this

gy of etymology with the etymolo chih3, L. 10 K. Extended meanings, truthfulness, reality, existence. — Phonetic series 476

Wai1. Deflected from the perpendicular, aslant; what is not correct . This character is a modern one.

Fa2. It is tthat one did not reach

urned to the left. The inversion means the line , the point

where had to reac defect, in want of, exhausted. The modern character is a fanciful abbreviation that has nothing in mon with

one h; a to he

com chih1 (L. 79 B). — Phonetic series

Mien4. This character is considered by some philologists as a derivative of

54.

. This is a mistake. It is a primitive, representing ting; — is the girdle; on the left, the seat; on the right, an apron that hides the fore and lower part of the body. By extension, to conceal, to hide, retreat, confinement, screened, out of view. — Phonetic series 71, It forms

Ch'en2. From

a woman sit

and . See L. 30 B.

Min1. The retreat in a house, the home, a dwelling. It forms

Pin1. A present offered to a man received in one's house B tension, a guest. The scribes he primitive character to the two form . — Phonetic series .787.

y ex arbitrarily altered t

s here joined


LESSON 113.

About the pr imi t ive

Chang3, to grow. Ch'ang2, long. The primitive form indicates locks of hair so long that they must be tied by a hand and a brooch (the fork on the right); Later on, was added, which made the composition of analogous to the one of (L. 30 E); manhood, when the hair is long By ex ion, long in time or distance. The modern form is an arbitrary contraction. — It is the 163th radical. Phonetic series 323. It forms

Pao1. Long

tens

locks (L. 62);

— It is the 190th radical.

Ssu4, To expand to the utmost , to exhibit, unrestrained. See L. 169.

T'ao4. A modern character. To sui t what is of the same height and length. Assortment, to unite, etc.

LESSON 114.

About the two primitives and

Shih4. A floating plant, without roots, that famifles and grows, like the nymphaeaceae so common in China, Euryale ferox and others, that spring up from a grain, float first, then fix themselves and acquire in a short time a prodigious development. By extension, development, multiplication; a wandering hord of the primitive times, a clan, a family — It is the 83th radical Phonetic series 82. It forms

Ti3. A development of the last. The floating plant sprouls to the bottom — of water, to be fixed and rooted there. By extension, bottom, foundation, to sink down; — Phonetic series 163. It forms


Hun1. Dusk, twilight; when the sun has plunged below the horizon. The of was suppressed;

— Phonetic series 364. The form is a wrong one.

Kuo2. A development of ti (above B), the root boring in the bottom. It is phonetically contracted

being suppressed) in

Kuo2. To put or to hold in one's mouth;

(

Note the modern abbreviations, specially the

last one, that is written in such a way that the compounds of kuo2 cannot be distinguished from those of she2. See note L.102 C. — Phonetic series 227.

Min2.The people, the mass, the common multitude. Some philologists consider this character as a mu3

(mother, L. 67 0), with sprouts that represent the m u l t i p l i c a t i o n ; people , t h e sons of w o m e n .

It. Min

is h ighly probable that this interpretation is erroneous 2 is a primitive, a creeping plant with sprouts, that is proliferous (second ancient character, ) The third ancient form, and the modern on abbreviations

e, are arbitrary. is therefore a character resembling

, and not a derivative from it. — Phonetic series 137.

15

About the three primitive

LESSON 1 .

s

ching3. Ching3. Primitively, it was designed to represent eight square lots of fields, divided among eight families, reserving the middle square for public use, and digging a well in it. The well is represented by a dot;

First series

Such was the custom in antiquity. See Textes Historiques, p. 25. The system was abolished, and the character is now used to mean, a well. — Phonetic series 49. It is phonetic in


Hsing2. Legal punishment ( the scribes

a sword, L. 52), which was arbitrarily written by . See below B. — Phonetic seri 04. es 2

ch'ien2.

Ch'ien1. It represents two scales poised

Second series.

; Even, level, line, row, agreement. itrary contraction which, reducing s of this important phonetic, is ts of Chinese, of many fruitless

tionaries. — Phonetic series 184.

Note the modern arbto four the six strokethe cause, for studenresearches in the dicSee above A. It forms.

Ping1. Two men who march side by side; together, harmony, with, etc. ;

The remark made here also, the modern contracted form counting six strokes, instead of eight. — Phonetic series 390.

K'ai1. It has nothing in common with

made for the last is to he

. It is a representative character. Two hands take away the — bar tha t closes a door ; to open. It is the reverse of shuan1, to shut, that w plained L. 1 H;

as ex

. tan1.

Tan1. Cinnabar. It has nothing in common with

Third series

The crucible or stove of the alchimists, with cinnabar in it. See L. 4 C. — Phonetic seriesforms

Ch'ing1. Light green; the colour

83. It

of the sprouting plants (L. 79 F);

Note that the cinnabar is red. It seems rather curious that the two complementary colours, green and red, are here confounded


(daltonism?). An author explains seriously that the green plants, when burnt, give a red fire — It is the 174th radical. Phonetic series 337.

is still found in t'ung2, scarlet red; and in chart1, a red banner (L. 117).

LESSON 116.

About the primitive

Jan3. The hair just growing on the. body; It might be considered as inverted and doubled. See L. 100, second seri scribes now writees. The (nothing in common with L. 35 J). — Phonetic series 128. It is phonetic in

Na4, na3. A ancient

city and State in the West, perhaps Tibet, wh inhabitants woreose furs;

The scribes strangely altered . This character lost its primitive meaning and is now used as a demonstrative pronoun in the modern spoken language. — Phonetic series 232.

So1. Clothes made of furs or straw, against rain. It was explained, L. 16 D.

LESSON 117.

About the two primitives and , that resemble each other in the modern writing, but that elymologically have nolhing in common.

First series fang1.

Fang1. It is supposed to represent two boats lashed together, so that they make a ferry-boat, a pontoon, a square barge;

esentation in the

t the four regins, the earthly

correct, a ruut, with the e

e characters cl, belong to the p

It seems rather difficult to see this repr character. The ancient forms represen ons of the space with two dimensio surface. By extension, square, regular, le, etc. — It forms the 70th radical. B xception of two or three of them, all th lassified under this ficti-

tious radica rimitive , below, B, that is unconnected with . — Phonetic series 56.


P'ang2. The space with three dimensions; the limits of that space, indicated by on the top, and two side li The ancient forms, usually, aie more expressive than the modern ones extension, border, side, lateral. — Phonetic series 556.

Fang4. To lead

nes. as . By

, in the open space (steppe, pasture-land), a drove; to feed. Compare L. 43 D. By extension, to let go, to loosen, to out, to lay down, etc. It forms

Yao1. To shine;

open

emit light; — Phonetic series

766

Nao2. From and . See L. 78 E. — Phonetic series 638.

Yen1, has nothing in common with . See L. 34 K.

Second series yen».

Yen3. First, long overhanging brandies. Later, the mangrove, shooting, from its branches, roots that go down and implant themselves in the ground (right side; lianse, the jungle. Idea of a being, hanging, waving, covering, with many stalks, etc. This character is unconnected with . Note its successive alterations. — It form all the characters attributed to the 70th cal

s nearlyradi . Note the following

compounds:

Hsuan2. To revolve, to move in an orbit, to do a thing in tarn. Composed of foot (L. 112 C), and motion. — Phonetic series 614.


Tsu2. A handle of arrows , fifty, says the Glose;

means the numerous slicks; By extension, a multitude of beings of the same , a family which traces its descent from one or, kindred relatives who are like a sheaf of duals

kindancestindivi ; — Phonetic series 654.

Shih1. To pour out at repeated times .probably something to drink; to bestow, to diffuse, generosity; L. 107.

Yu2. Contraction of ; the waving motions of the swimmer

500. (L. 94 A ) ; to float, to swim. —

Phonetic series

Lu3. A campment. Men encamping under the branches of trees. By extension, men temporarily

ing in a place that is not their ordinary abode, iers, merchants, travellers, emigrants, exiles.

Yu2. It has certainly nothing in common with

staysold

It is probably not an arbitrary contraction of wu1

(L. 138 D) It seems to be a modern sign, inv d to be used as a particle expressing the rela that exists between two terms of a proposition. epresents graphically the connection, (left si between

entetion

It rde)

two distinct terms. — Phonetic series 419.

Sub-series kan4. A sub-series is reserved for this derivat ive of , ou account of its important compounds.

Kan4. The solar rays penetrating into the jungle, draws up the yapours of the ground which, till then, were checked (L. 1 I ) ; The bottom of is suppressed, to give room to Idea of evaporation, of a fog lifting up. — Phonetic series 543. It forms

Ch'ien2. A radical redundancy of the last, representing the vapours sent up. The proper room of the vapours, says the Glose, is upwards; they en-


deavour to rise up ; hence the meaning, cloudy firmament (and not l ight blue of the skies), heaven.

This character is

sometimes used for kan , dry. It is a licence. In that sense, the character

1

is to be used, in which (L. 102) means the-drying of the dampness.

Kan4. A rod very

absu

long: by extension, power, capacity. The second form is more recent, and commonly used. It is an rd phonetic redundancy, the radical being suppressed;

Han4. To fly very high. Chia-chieh, for pencil, in Han-lin, the hinese Academy of old.

Note: In the three following,

C

was suppressed in the- modern form. Chao1. The rise of the sun and of the mist on sea, seen from a boat; dawn. By extension, the Imperial courts, so called because they were held in early morning. In this sense, they pronounced ch'ao2. Hence, the Imperial court, a dynasty, etc. — Phonetic series 664.

Han2. A bascule ( L. 31 G, lo and fro) to raise water.

Chl3. A lance very long.

LESSON 118

About the primitives and First series. kua3.

Kua3. A skeleton, skull and bones without flesh, roughly shaped. By extension, to strip the flesh off, to bone, to disarticulate, article, broken, etc.

See below B, . It forms


Kua3. A defect in the conformation of the bones of the mouth ; a wry mouth with a palatal fissure. — tic series 457. It forms

Kuo4, from Phone

(L 112 F), to go through. Phonetic series 742.

Ku2. Bones with flesh around. Compare ,

ion iswhose composit analogous, and which was explained L. 65 C. — It is the 188th radical. Phonetic series 547. Ling4. It is borrowed as a symbol for arithmetic. The mode und and shape are conventional. The primive epresented a bone extracted from the skeleton, a fraction, a remainder, a surplus

rn soform r

;

It forms Pieh2. To divide, to distinguish,

difference. Composed of

and of a kn i f e .

Second series. tai3.

Tai3. A primitive; bones fal len to pieces; what remains definitively of a man's skeleton. The fourth ancient form, relatively modern, is composed of body, and of two strokes cut up by a third, to represent the disjunction of the body's elements. By extension, death, misfortune, evil, bad, to break to pieces, to shatter, to grind, fragments, dust. — It is the 78th radical. It forms

Sso3. To die; dissolution of a man. See L. 26 H, and its d tiveeriva tsang4, to bury, to put a coffi nto the ground, L 78

G. See also LL. 12 F and 52 D.

Ts'an2. To reduce

n i

into fragments, into dust. — Phonetic series 308. It forms

Ts'an4. Rice pounded , fine white oat-meal. By extension, a meal, a feast, whiteness, purity.


Note. The two preceding and , placed on the top of a compound, are written or , and form he following compound:

Hsun4. A deep ravine

t

(L. 18); r

epresents the erosion of the rocks or of the loess by waters;

— Forms by substituting eye (L. 158) to the of :

Jui4.Brightness and quickness of visual perception, and, by extension, of intellectual perception; shrewd, profound. The

eye penetrating to the very bottom of the deep hollow;

Ho4. An artificial ravine, dug by men; a pit, a canal. Compare above hsun4. Now

Ho1. A ditch, a canal; , L. 81, is a radical redundancy.

LESSON 119.

About the primitive and its multiples.

First series. mu4. Mu4. It represents a tree, . On the top, the branches; at the bottom, the roots; in the middle, the trunk. By extension, wood. It is the 75th radical of characters relating to trees. It forms

K'un4. Weariness, exhaustion that forces to stop on the way, to sleep under a tree. The modern form represents the same t not so clearly; idea, bu

a camping (L. 74) under a tree . — Phonetic s 286

Hsiu1. To stop, to cease to march;

serie

A man under a tree; Compare with the preceding; the cease in general, in particular to cease to live with a

wife, to repudiate her. — Phonetic series 205.

idea is the same. By extension, to


Cha1. A thin wooden tablet, anciently used for writing ,

1. for information (L. 9 A). — Phonetic

series 10

Ch'i1. Varnish, a substance that falls in drops from the branches and the trunk of a tree;

The drops are a Phonetic series 598.

Nai4. Omens

primitive. —

derived from trees. Compare L. 119 M. This character lost its primitive meaning and is now used as an interjection, alas I The second modern form was invented by the scribes. See L. 99 D, the first form.

Chi2. Three birds (a great number) roosting on a tree. By extension, an assembly, a meeting, a

market or fair; The

contracted the old character. It forms

Tsa2. Garments

scribes

made

itchewith variegated pieces st d together;

By extension, partico- loured, streaked; a mixture of colours or ingredients. The scribe: placed the of under ,

then contracted the two elements. Compare L. 16 M.

Nieh4. To shoot into the black of the target, It is explained that is the support, and

the black of the target or bull's eye; because theblack is to the target what the nose ( L. 159) is to the face, the central point. By extension, rules of shooting; then, rule, law, in general.

Hsing1. The tree that produces apricots; represents the fruits hanging from the tree. The inverted character

Tai1, stupid, is modern. It is equivalent to


Hsien2. Threshold. From wood, and door;

Jan3. To dye, to tinge. The dipping in the infusion of wood of Gardenia tinctoria or a cordifolia, be repeated

Rubimust nine times, says the

Glose; See L. 23 A.

Hsiao of prey1. A bird prospecting, on the top of a tree ; the head alone appears, the feet are not shaped. — The head of a criminal exposed on the top of a slake.

Li3. A plum-tree. The tree , the children are fond of ; Not to be confounded with chi4

(L. 94 A).

Mei2. A stalk or stick in wood ; one of, each;

the hair; Mu4. To wash is phonetic. To cleanse

in general.

Yao4, music. Lao4, joy. Here represents the frame on which the instruments are hung. See L. 88 C.

Second series. Multiples of

Lin2. A forest, a clump of trees. Two to indicate many trees together, Not to be confounded with p'ai4, L. 79 H. — Phonetic series 377.

Chin4. Bad omens derived from trees. Compare L. 119 F. By extension, to prohibit, to warn against, to forbid. — Phonetic series 727.

Ch'u3. A country planted with trees; (L.112 C) is phonetic. Various chia-chieh. — Phonetic series 730.

Fen2. To set a forest on fire , in order either to drive out the wild beasts or to prepare a clearing. Hence, to burn, in general.

Fan4. The soughing of the wind through trees; is phonetic. In the Hindu-Chinese literature, this

character is used to designate Brahma.

Etymological Lessons. 119.120. 279

Lan2. Greediness; a woman's vice, says the Glose; is phonetic.

2. A fence. See L. 39 L.

Mao4. A bushy forest. See L. 95 C.

Wu2. Clearing. See L. 10 I.

Shen1. A great number of trees, and by extension, a great number in general.

Yu4. A park

Fan

planted with trees. Now

LESSON 120.

About some compounds of (L. 119), that form important series. Pen3. Trunk, s tump of a tree, across the l i ne —

that denotes the earth; — Phonetic series 147.

Mo4. The top, the highest branches of a tree ; end, extremity.


Wei4. A t a l l tree with its branches superposed; The actual meanings of this character, d as a negation, are chia-chieh. —


Chih4. To cut a

in the cycle an

big tree with a sharp instrument, an axe or an dze. The ancient form shows the notches. By extension, to work the wood, tc make, to form, etc. The modern character is corrupt. Li2. A composition analogous to he preceding one. To cot down

a

t a big tree; represents

its falling. — Phonetic series 627.


Chu1. Trees whose hear t is reddish, as cedar, thuja, etc. By extension, red. A tree ; in the middle represents a cutting in the wood;


Lei3. A harrow. A wood with prongs. The modern form lost one of the prongs. See L. 97 G. — It is the 127th radical

Kuo2. The f r u i t of a tree, represented by on the top of ; fruits in general. — Phonetic se 373.

Ch'ao2.A nest on a tree. See L. 12 O. On the tree a nest, and on the nest, the feathers of the hatching bird. — Phonetic series 594.

Ts'u4. Thorns. A thorny

ries

tree; — Phone t i c series 243. It forms the i m p o r t a n t

fol lowing compounds and multiples:

Ts'u4. Primit ively, torture; thorn and knife . It is n o w used for . Not to be confounded with la2, below 1.

Chai2. To chastise, to punish. A thorny rod and a fine in money . Note the contraction of into

in the mod form. — Phonetic series 59

Chi4. Thorny shrubs in general. The

ern 0.

duplicated represents the great number of thorns.

Tsao3. From thorn duplicated, referring to its abundance of thorns; the jujube tree, very common in China.


Ti4. The Emperor, the man who rules over the Empire. The ancient character represents a man, clad in long robes (compare the ancient form of L. 24 Q) and designated by , an old form of , superior. Then the scribes added two arms. Li-ssu changed the bo to

Then ttom in . Lastly the

scribes contracted the ch . Compare the series aracter , p. 9; tbe evolution is the sa — Phonetic series

forms

Ti4. To control

me. 478. It

oue's mouth , to hold one's tongue. Phonetic series 650, under its modern contracted form To be distinguished m fro shang1, L. 15 D.

Shu4. To encompass (L. 74) a tree , here taken to mean any object; to tie; to knot. — Phonetic series 303. It forms

Sou4. To cough. A tight breath that becomes loose. — Phonetic series 647.

Sung3. Reserve with fear. To stand befor perior, as being bound e a su with fear.

Ch'ih4. Government. A rod and a

tie, the coercitive and legislative power.

La2. To cut the tie that binds; to cut, in general. — Phonetic series 469. It forms

Lai4. To solve a difficulty by giving money; to bribe in a co petition, or to buy in pro- te Tbe

mction. is placed on the

top of — Phonetic seri es 821,


Chien3. To par take a bundle, in order to pick and cull. — Phonetic series 429. It forms

Lan2. A bar shut t ing a door; is phonetic. — Pho- netic se 833.

This compound (case, bag),ries

increased with , was explained L. 75 A, with its derivatives.

Tung1. The sun appearing at the horizon. To show that it is o evel with the horizon, it is represented shi g under the top of the

n a lnin trees

that are at the h zon. Compare ori L. 88, and L. 143 B; By extension, the East whence light rises. — Phonetic s 405. It for

Ts'ao2. Judges. There were two, in the ancient ribunals, sitting on the Eastern side (the place of

honour), and deciding

eries ms

t (L. 73 A) the cases. The

modern contraction is an bitrary one; ar

Chung4. Composed, as ting2 (L. 81 D), of man and of earth; contracted is phonetic. The man on the top, tries to rise, from the earth at the bottom, an object in the. middle, which represented by the phonetic. Hence the idea, heavy, weight. This interpretation is certainly erroneous. The ancient characters represent round or flat weights piled up on a kind of support. — Phonetic series 437. It forms the two following:

T'ung2. A slave boy; the counterpart of a slave girl

is •

(L.102 E). Composed of acrime, (contracted) grave, committed by the parents, and r which their children were reduced to slavery;

fo

Those slaves were forced to live unmarried; hence the extended meanings, a bachelor, a spinster, a virgin. — Phonetic series 716.


Liang2. The weight (contracted), (contrac- ed) special to some object. Weight, measure, in

general. See L. 75 F.

LESSON 121.

About the primitive

t

Ho2. Grain, corn, crops. The character represents the plant (resembling L

r; . 1 1 0 ) , ended on the top

by a pendent ripe ea Derived idea of uniformity, conc ing, waving, ripening together

ord, the grains grow; — It is

the 1 1 5 t htheir uses. — See

radical of characters relating to grains and L. 53 B; L. 52 F ; [,. 98

B etc. Note the following compounds :

Ch'un1 A granary; the bundles of corn being enclosed; — Phonetic series 351

Ch'iu1. The season when the grain is burned, i. e. whitened, ripe; The autumn. — Phonetic series 433.

Su 1 . To glean ears, is phonetic. The modern sense, to revive, to rise from the dead, is chia-chieh

Chih4. Grain still young and tender, Young, delicate; is phonetic

Ho2 Tune of mouths, formerly of musical pipes. Harmony, un ion ;

Wei3. The lot of woman who mast yield ; By extension, to suffer, to serve. There are

different derived meanings. — Phonetic series 409.

T'u1. Bald. When the head of a man is l ike a mowed down field.

Nien2. The year's harvest, the thousand stalks. A year (L. 24 D). The modern chararcter is an absurd contraction.


Shu3. The panicled millet , whose put in water and fermented, produces spirits;

— It is the 202th radical. It forms Hsiang1. The sweet odour of Swee

millet when it ferments. t smell, or sweet to the

taste. See L. 73 B. The modern character is astrangecontraction. — It is the 186th radical. Ping3. A bundle ot corn held by a hand. To uphold, to seize, to grasp in the hand. See L. 44 I. — It forms

Chien1. Two bundles in the hand. Union, together. See L.

44 L. — Phonetic series 519. It forms Lien2. The angled joint of the roof and of the walls of a house; a corner, a joint. — Phonetic series 745.

Li4. Many ears ripening together; crops; It is phonetic in

Li4 annual cycle, growing and ripening of the crops. It forms

Li4. A (L 112 A) stop in the turn, the end of a period past; to pass, a term ; Often . contracted into by the scribes. — Phonetic series822. Li4. The (L. 143) solar terms, calendar, time. This character was used for the personal name of the Emperor Ch'ien-lung, and consequently was no longer ed for common use. It was superseded by

employ

inverted, a pendent ear, to bow the head, is found only in the following compound: Chi1. To bow the head in order to examine. The compound on the right side seems to be an error of the scribes for (L. 30 E) The meaning should be then, to shake the bead, like old men.


LESSON 122

About the primitive , straight and bent down.

First series. mi3 straight. Mi3. Grains of different plants. The character represents four grains, that are separated by the thra- shing; — .See L. 68 D; L. 23 G, L. 78 E; L. 102 B; L. 41 E; L. 32 E; L 54 D; L. 87 B; L. C160 ; L. 81 A; etc.

T'iao4 To sell ( to being out) grain

Ti3. To buy ( to bring in) grain . In these two characters, (L. 62 G is plionetic.

mi3 bent down.

Mi3. Grains. It forms

Wei4 The stomach which incloses

Second series.

the food This viscer being fleshy, later on was added (L. 65); then the scribes contracted into

— This series is unconnected with L. 41 D

(grains of salt, an analogous figure). — onetic series

Ph 489.

Shih3. Vegetables that went through the written stomach; excreta, dung. This character is now

(see L. 32 E).

Ch'ang4. Grains fermenting in a rase, and a spoon to take the liquor out. It plained L.

— It is the 192th radical. was ex

26 C.


LESSON 123.

• About the primitive Pien4. The steps of a wild beast . The strokes represent the print of the claw e points the p r in t of the soft parts. Th mination of the trail indicating the kind of an l, hence the extended meaning, to discriminate, to p , to sort out. The excreta giving the same indica ,

s, and the exaimaarttion means dung

in (L. 104 A). It is unconnected with L. 122. - It is the 165th radical. It forms

Hsi2. To get a perfect knowledge , by a thorough investigation ; to comprehend l particulars.

Chuan3. To choose, to

in al

pick and cull with the hands. The modern character is a contraction. See 7 K, and below F. — Phonetic series 191.

Fan1. The tracks of a wild beast, print of the claws

L. 4

and the sole of the foot; — Phonetic seri

n3. To e ine, to search, to get knowledge by study. To investigate

es 676. It forms She xam

in one's house . _ Phonetic series 811.

Shih4. To clear up by an investigation, an enquiry. (L..102 G); By extension, to part from confinement, et

Nao4. The dark corners of a

from an accusation, to let out c.

house, in which one discerns the things only by groping;

. By extension, sterious, Phon es 750. Yueh4. A particle, a kind of

my obscure. — etic seri

interjection (L. 58 E), that comes before the explanation of an obscure matter. Often changed into

lK'ang-hsi wrongly classified it under the radica

Etymological Lessons. 124.125 287

LESSON 124

About the primitive Shu2. Beans. The primitive is thought to represent the plant; two husks pending;.';

It forms

Shu2. The collecting of beans. This character is obsolete in that sense, a nd is now used chia-chieh to designate a father's younger brother, an uncle of the same surname (vulgo shou2). — Phonetic series 393.

Ch'i1. It represents the mowing of beans, with a crooked sickle. It is now used ieh to mean the red. The idea may come from the boughs of creepi ants. — Phonetic series 597.

LESSON 125

About different forms of the p r imi t ive

chia-ch kindng pl

. The p r i m i t i v e is incidental ly explained.

First series. shui3.

Shui3. Water. The central stroke represents a brook, a rivulet,

d forms.

already e

The four small strokes represent the whirls of water. See. L. 12 A. Note the modern contracte — It is the 85th radical of characters relating to water and streams. Different derivatives were xplained; e.g. L. 17 B,

L. 18 M, L. 94 0, L. 47 0, L. 50 B, etc. e the following.

Ta2. Babbling

Not

words flowing like water. See L. 73 A. — Phonetic series 895.

Yen3. Water that advances (L. 63 C), that spreads out; overflowi inundation;ng,

It forms ch'ien1, a fault, an excess, licen- tiousness; scandalous behaviour.


Fa1. Rule, law. By extension, model, pattern, means. This character is a modern one. and its explanation is

too far reached: to make the morals smooth, as water

is, by extirpating vices; The ancient character was composed of

to adapt (L. 14 A) to righteousness (L. 112 I).

yn3.

Yu3. Rain. According to some, the four points represent the drops, — upper l i ne the skies, an d

Second series.

the clouds. — Others ex p l a i n as it was said in the B. — Others still explain: — the skyL. 1 , the

regular fa l l ing ( L 35 H) of drops ( t he f points are a special primitive). — An ancient form simply represented a shower of rain. — It is the 173th radical. It forms

Lou4. Rain

our

soaking th rough a roof (L. 32 G); Dropp ing .

. that is Third series bent down, in

Yuan1. A whirlpool, a gulf, an abyss The ancient character represented water in a circle i.e. whirling. A more recent form rep ts theresen water

bouncing between two banks. Now , a graphical redundancy. It forms

Su4. Deferential fear of an official. — Modern form, to write (L. 54 D) a report to a superior, as if

one would be on the br ink of an abyss , that is, with fear;

This idea commonly occurs in the classics; — An ancient form meant,

to apply one's heart in writing reports and inadministering



I4. It represen s a t vase, so full of water, that e is represented by the it overflows. This circumstanc

fact that is over the vase aexpressing its overflowing.

profit, excess, overplus;

nd is hent down, thus By extension, addition,


Fourth series. and

Yang3. The unceasing flow of water veins in the earth, Abstracted meaning, duration, perpetuity, but not eternity. Graphically, this character is a variant of ; the

slender threads are substituted to the whirls. — Phonetic series 173. It forms

Yang4. It has the same meaning as ; is phonetic. By extension, uniformity, model, pattern, wearisomeness. See L. 103 A. — Phonetic series 659.

P'ai4. Graphically, it is inverted. The idea is s; ramification of a stream;analogou


Mai4. The blood runn ing in the veins, the pulse. The second form, from flesh and streams, is more recent.

Ch'uan2. A spr ing gushing out from the ground, and flowing in rills. A special primitive. In the middle, the gush that bubbles up from the earth; on the top, the water expanding; on the sides, the flowing. The modern character is an arbitrary confection; water pure. It forms.

rce. In the ancient form, Yuan2. Any origin; a southere were three springs gushing out from a cliff. The scribes contractedcharacter in such a way t

it ftrst, then altered this hat became . See L.

C. — Phonetic series 388. 59


LESSON 126.

About the pr imi t ive First series. huo3.

Huo3. Fire. Ascending flames; a large group of

e the modern contracte— It forms the 86th radical of characters relating to heat. Not d form that is used in combination, at the bottom of the compounds. See the compounds already explained,

L. 65 G, L. 74 P, L. 121 C, L. 46 I, L. 59 G, L. 12 I, L. 119 O, etc. Note the following:

Chih4. To roast flesh; To cauterise, a moxa.

Chiao1. A roasted bird. Singed, shrunk, dried up; melancholy, sadness. — Phonetic series 669.

Fan3. Pain in the head caused by heat; Morally, heal in

the head, nervousness, disgust. See L. 160 C.

P'eng1. To roast; (L. 75 D) is phonetic.

Second series. contracted in the modern writing. The ancient forms arelike those of the first series. See

L. 24 J, L. 32 B, L. 50 O, L. 47 J,

L. 41 A, etc. Note the following:

Shen1. The Chinese hearth, a small hole (L. 37) under the caldron, in which the hand stirs the fire

Hence the deri meanings, struse, etc. Note

ved deep, profound, ab deep water;

ittedto explore, to fathom. The scribes arbitrarily om the upper dot of , and combined and into

Sou3. An old man. A man who reached the age when he most make fire in his house;

Compare it with the last character, and see how the ancient form was fancifully altered

by the scribes. — Phonetic series 567.

Etymological Lessons. 1 . 26 291

Ch'ih4. The human fire (L. 60 N), the face turning red and crimson on being angry. By extension, natural carnation, red colour, etc. — It is the 155th radical. — See nan3, L. 43 J. Note she4, amnesty,

pardon; the primitive sense was

to strike theculprit and

make him ashamed, without ulterior

punishment. It forms che1, bite or sting of venimous insects, that inflames the skin. Doubled

Ho4. Intense blushing, shame and fear.

C Third series. The same dots that are used as an abbreviation of , are also used, specially in recent characters relating to animals, to represent: 1. The tail, e.g. fish (L. 142); swallow (L. 141). 2. The feet, e. g. horse (L 137); bird ( L . 138); monkey ( L. 49 H);

lamb (L. 103 A), etc. See L. 136 B, C. 3. is also used as an abbreviation of more intricate forms, e.g. L. 10 I;

L. 92 E; an arbitrary abbreviation of L. 45 J, etc.

Fourth series. doubled, yen2,

Yen2. A rising (lame, fire, that blazes;

— Phonetic series 416. It forms the important compounds :

Hei2 The soot let by the fire around the bole through which the smoke escapes. Black colour. See L. 40 D. — It is the 203th radical. Phonetic series 678.

Hsun1. Smoke, fumigation. A black smoke rising from the fire. See L. 40 D. — Phonetic series 781.


Lin2. An ignis fa tuus; flatmes tha t are seen overing. (See h L. 31 E). They rise, says the Glose,

on old battlefields and proceed from the blood of men a n d horses ;.

The scribes arbitrarily

contracted into . — Phonetic series 696.

Shun4. The Chinese convolvulus, that creeps and covers the ground with its bloomi eddish ng r

flowers. The scribes strangely altered this character. The etic (L. 31 E) was added la ter on; phon

Name of a famous anc ien t monarc reigned about B. C 2042. — Phonetic series 703.

h who

Liao 3. Sacrifice offered to Heaven, on the threshing- floor, a f te r the harvest; The ancient forms represent the threshing-floor, the grains, the strow The more recent form represents the straw and the grains offered as a gift (L 75 D) to be

b u r n t ; b u r n t offering of firstlings. — Phoneticseries 695.

Fifth series. Yen2. Many lamps. Compare (above D). It forms.

Ying 2 The light of many lamps in a room (L. 34 H)

pounds i

This character forms a large group of com- n which the at the bottom gives room to

the radical. — Phonetic series 585. Note

Lao2. To toil aert

t the lamp's light, during night; to fag at, to ex one's self in an extraordinary manner; to labour; — Phonetic series 694.


About the two primitives

LESSON 127.

and , two halves of a tree (L. 119) cut in the sense of its l gth. It is queer enough that, in composition,

en means, thin, feeble;

while means, thick, strong.

First series. p'ien4.

P'ien4. The right h a l f of a tree, a piece of wood; bit, thin, feeble; radical.

— It is the 91th

Second series. ch'iang2.

Ch'iang2. The lef t h a l f of a tree, a piece of wood ; a bed, a wooden sta l l ; thick, strong;

— It is the 90th radical. Phof o r m s

Chuang 4 . A stout

netic series 41. It

man , or t he man feigns to be so. It forms

who , men an ings of the

country. — Note the analogous chd th

aracters: a woman who gives herself airs, disguise; a dog that blusters, to feign; to subduce strong enemies by arms; the humble subjection of a minister (L. 82 E). Etc. — Phonetics series 265.

Chiang 4 . A strong hand that rules; a general, to command.

Chiang4. To place meat upon a stall The scribes blended this character wi th the last. — Pho

ssive all and

all, meat (L. 41 G )

netic series 599. These characters show the succedevelopment of the preceding: I. Stmeat; 2 Stall, meat and salt; 3. Sta n d p r i n e

294 27. 128.

Chi2. To lie — on a bed

Etymological Lessons. 1

me

( note the successive contractions ). Derived anings, to be sick, sickness ; urgent, pressing, as in a grave sickness ;

The scribes arbitrarily added a dot on the top. —

Note: Joined to

It is the 104th radical of a group of characters relating to diseases.

, forms a k ind of compound radical, unde r wh phonetic is inserted. In the ancient forms,

ich a is complete; in the modern ones,

the horizontal was suppressed. For instance:

Wu4. To awake;

line

is phonetic. The sleeping man is lying in his house

Ch'in3 . To sleep; is phonetic.

Mei4. To sleep; is phonetic.

Mi

3 . Drowsy; is phonetic. Etc.

Third series. and joined.

A prop. It is found in

Ting3. A tripod or an u rn . The third foot does not appear, on account of the perspective. is not the eye (L. 158), but it represents the vase. The tripods and urns played an important part in the Chinese

antiquity. See Graphics page 361. — It is the 206th radical.

LESSON 128.

About the primitve Chin1. An axe, a hatchet; The

instrument,character is supposed to represent the It means also a Chinese pound, the ancient weights


having, like moneys, the form of a hatchet's iron or o a hanger. It is the 69th radical. Phonetic series 48. — Different derivatives of were already explained; e.g. L. 47 D; L. 51 A; L. 48 D; L. 60 E. Add the following:

Hsin1. A laughter (L.99) by jerks ; joy, delightness.

Chan3. To cut in two, to sunder. Composed of chariot, and of axe, It is a of the anc ien t char says the Glose. More probably

souvenir

iots with scythes, the n whir l ing of a axe brandished. —

Phonetic s s 591.

Hsi1. To spli t

erie

wood , to divide; — Phonetic series 357.

Ssu1. To sp l i t wood with an axe; (L. 70 C) represents, says the Glose, the basket in which the splinters are gathered. The modern use of this chapronoun, is chia-chie

Sho3. Chopping

racter as a demonstrative h —. Phonetic series 704.

of a door ( L, 129 ). By extension, a place, a spot, a building; a relative pronoun.

Two axes. This character is obsolete. It is found in

Chih4. To fix or settle the price of a thing. By extension, value, quality, substance, matter. — Phonetic series 799.

Ch'ih4. To expel. It has nothing in common with . It is an arbitrary abbreviation. See its etymology,

L. 102 D. — Phonetic series 112.

296 Etymological Lessons, 1 . 29

A b o u t the p r im i t i ve

LESSON 129.

First series. hu4, and its compounds.

Hu4. One leaf of a door, the half of the character

men2 (below C); a shutter; It represents the thing. By extension, house, family. — It is the 63th radical. Phonetic series 63. — See L. 62 I; L. 128 A; L. 156 D; etc. It forms

Li4. A dog out

surprised, that crouches under the door to get . By extension, wicked, to lose face;


Ku4. A sort of bird : is phonetic. The modern meanings, to rent, to are chia-chieh, says the, Glose. It may be tha t

hire, represented a sign-board

placed in front of bouses to let. — Phonetic series 692.

Hu4. Name of an ancient town and principality; is phonetic. — Phonetic series 616.

Ch'i3. To open a door, so tha t it is f u l l y opened ; to open. It forms

Ch'i . The teaching of the master, with his

3

rod, opens he mind of the disciple. To

explain, to make clear, to instruct. — Phonetic series 329, in which

t

is replaced by a radical

O4. Misfortune, distress. The character represents the slipping in through a narrow door;

The modern form completely ich there is neitheraltered the old one, in wh , nor

. — Phonetic series 75.

Chien1. Shoulder. It is unconnected with . It is a special primitive, explained in the L. 65 F.

Etymological Lessons. 1 . 39 297

inverted is now obsolete. Bat in combination with the straight form, it makes the three following important series, C, D, E.

men2. es of a door, face to face

Second series. Men*. Two leav ;

— It is the 169th radical of characters relating to entrances. Phonetic series 381. — Note a few compounds: men4, sad, melancholy, a heart before a shut up door; wen2, an ear at the door, to hearken;

about;wen4, a mouth at the door, to inquire of or ; shan3, to slip aside, in a door, to let another pass

shuan1, to bar a door; k'ai1, to unbar a door; hsien2, the moonlight streaming in through a

in a door, interstice;chink ch'uang2, a horse crossing a door, impetuosity.

Min3. To condole (L. 61 F) wi th the mourners at the front door; The Chinese houses being very s received at the door, when ther

mall, the visitors aree is not a t'ing1, a reception

hall. By extension, compassion, pity.

Third series. mao.

Mao2. Two leaves of a door opened; The modern form is a strange alteration. The

compounds of this series, and those of the following and others, were all mingled. See ch'ing2, L. 55 A. — Phonetic series 136. It forms

Mao3. The constellation of the Pleiades; for is phonetic.

Mao*. Business; From cowries, money; is phonetic. Note. ch'ing2 (L. 26 M) Is unconnected with mao3, as well as with lin3, (L. 129 E).


Fourth series. yn3.

Yu3. A closed door. The the

closing is represented by that joins the two le

above D). The modern abbrevaves together (compare iation is quite incorrect;

It forms the following:

Liu2. To stop, to sojourn in a place (L. 149): to deposit, to let; is phonetic; Phonetic series 551.

Liu3. The willow ; is phonetic. The modern scribes write . and t mistake was registrated by the

heir

2Liu Composed of to cut, a n d a phonetic. y i l y name.

LESSON 130.

A b o u t the two pr imi t ives

A ver common f am

a n d

First series. wu3.

Wu3. It represents a pestle; To hit, to offe nd. Compare L. 57, and L. 102. — Phonetic series 89. See and , to pfollowing compounds:

Wu

ound, L. 47 N. Note the

n holding one's opinions, 3. Stiff iobstinate; Here represents

e action of offending, of shocking; th is phonetic. The second form is a modern one.

Hsieh . To stop4 in the exercice of an office n the seal, on account of (LL. 112 and 55), To lay dow

a fault. By extension, to laa cart. It forms

y aside, to unload, e.g.


Yu4. The art of driving, and, bover men. The modern character is an honetic compound;

y extension, of ruling absurd

p to march. is phonetic. te to have the The ancient charac r meant, hand

over a horse;

Second series. fao3.

Fao3. Earthenware vessels in general; A vessel with a cover. — It is the 121th

radical. It forms

Tao2. A furnace for burning pottery or earthenware; — Phonetic series

Yao2 An earthenware vessel for cooking or keeping

396.

meat. — Phonetic series 583.

Pao3. Precious, valuable, noble, respected. To have jade , earthenware , cowries , in one's own house ; such were the precious things among the ancients, hird forms are m n

Yu4. The offering

The secondand toder

contractions. See page 364

of a vessel full of fragrant wine ( L. 26 C); represents the decorations of this vessel (L. 62); is probably used to keep apart the numerous elements of this compound. It forms

e preceding is phonetic; thYu4. Thicket, brushwood. Th

e radical is changed, (L. 119 L) instead of rance. The second form

rn arbitrary ction. By extension, obstruction, hindis a mode contra


About the primitive

LESSON 131.

Shih3.An arrow; bottom, the feathers,

On the top, the point; at the An ancient form reprbody (L. 32). Abstract meaning, an acto its end, appointed, determined, irrevocablwhen the arrow is fixed in the target. , and 85 E. See also

esents an arrow fixed in a man's tion that came

e, as See LL. 18 G

L. 59 H, L. 101 B, L. 165 A. — It is the 111t h radical. Note the followicompounds:

Chi2. A sudden

ng

sickness, as if one had been struck by a dart Hence the two notions, sickness, suddenness.

I4. A quiver, a case (L. 10 B) for arrows; It forms

I . To take out an arrow from the1 quiver, in order to shoot (L. 22 D). — Phonetic ser es 618. It forms

I1. Medicine as it was practiced by the wizards of old. To sent arrows

i

against the evil influences that caused the sickness , and to give to the • sick elixirs to revive them,

She . To shoot an 4 arrow against somebody;

In a more recent form, used for the hand, was substituted to . to the detriment of the meaning. — Phonetic series 560.

Chih1. The knowledge that makes a man able to givean opinion upon a subject, with the rapidity and pr of an arrow hitting the marks; ecision


Etymological Lessons. 131, 132. 301

Kui1. Rule, to rule, right, straight, as it ought to he. To have. the eye to something, in order to make it straight as an arrow ; The great resemblance of and of in the ancient writing, gave birth to the false character , which became usual. — Phonetic series 624.

I2, Doubt , to doubt. The modern signif icat ion is the opposite of the ancient signification of this character, wh ich was confounded by the scribes with the next:

To miss the mark. an arrow that goes astray; hesitation, doubt, uncertainty;

While primitively meant, to hit the mark ; an arrow that slops in the target; certi-

tude , a set t led matter. is a phonetic added later on. — The modern character is an ill-formed contraction.

— Phonetic series 783. Note that has nothing in common with

. See L. 99 I).

LESSON 132

About the primit ive

N i u 2 . An ox , a cow, a b u l l . The o r i g i n a l cha rac ter represents the a n im a l seen from beh ind ; the head, the. horns , two legs a n d the t a i l ; etc. — It is the 93th radical of characters relating to bovine animals. — Compare the sheep, L. 103. See again to bellow, L. 85 E; a paddock for oxen, L. 17 F; to graze, L. 43 D; to d r ive by the halter, L. 91 C; the yak, L. 100 A; an ox cut up, a ha l f of it, L 18 D; etc. Note the derivatives

M u 3 and P'in3. A bu l l and a cow; and are the two halves of (L. 27 G ) . representing the pair. Now, by extension, male and female of animals in

general . L. 26 I.

302 Etymological Lessons. i32. 133.

Kao4. To impeach, to indict; to do. with the mouth, what is done by the, ox with its horns; to gore:

By e x t e n s io n , to tell of, to adv i se o f , etc. — P h o n e t i c series 282.

It is p h o n e t i c in Tsao4. Pr imit ive sense, to arrive at, to reach,

extension, to construct, to build, to create;

C The ox was the most va luab le t h ing among the goods of the ancients, hence the two following characters:

Wu4. A thing, mat ter , substance; the beings, Because, says t h e Glose, the ox is the largest

of things is phonetic.

Ch ierep

n 4 . A n , one. The idea is represented by a resentative of t he two nobler categories, a man

a n d an ox ;

LESSON 13».

About the two pr imi t ives a n d

First series. pu2.

Pu2. It represents a bird that rises, flapping the wings, straight towards — the skies;

Compare L. 11 A, B. It is now used, chia-chieh, as an adverb of negation ;


P'ei4 It represents a wast open space; a bird hovering between heaven and earth;

Great, vast, unequalled. — Phonetic series 146. Fao3. Adverb of negation; the mouth saying no: This character is a modern one, for is taken in its chia-chieh meaning. — Phonetic series 268. It forms T'ou4. To cut a speaker short by interrupting him in his speech, as a dot, a denegation , or that puff that is used in China to express one's contempt;

Note the modern contraction, that is to be distinguished from (L. 73 E). See also , L. 47 H. — Phonetic series 401.


Second series. chih4. Chih4. It represents a bird that, bending up its wings, darts down straight towards the earth.

By eiten- sion, to go to, to arrive, to reach, etc. — It is the 133th radical. Phonetic series 186. It forms

Chih4. To go, to send, to make a person go or do, etc; See L. 3t C. It forms chih4, fine, delicate.

Tao4. To arrive at, to reach; is phonetic. Forms tao3, to fall over, to prostrate; a disjunctive particle, but, on the contrary.

Wu1. A house, a room in a house. The place where one rests when he has got to. See L. 32 G,

where this character was ful ly explained. — Phonetic series 490.

T'ai2. A high open terrace, a turret upon which birds alight. See L. 75 B. — Phonetic, series 790.

Shih4. A place of rest, a house, a dwelling. Its composition is analogous to that of above; the shelter where one stops and rests;

Chin4. To increase, to grow, to flourish. The sun that appears on the. horizon, and birds that alight in order to peck. When the sun has appeared,

at daylight, all go to their business, each one gains his ends, says the Book of Mutations;

The modern form is a contraction. Do

no t confound another abbreviation , with p'u3, L. 60 L. — Phonetic series 521.


LESSON 134

About the primitive

Ch'uan3. The character represents a dog; According to tradition, Confucius found the

representation a very faithful one; This induces to believe that the

dogs, in the times of the philosopher, were strange animals . — It is the 94 th radical . — See aga in L. 25 E; L. 65 G; L. 37 B; L. 72 C; L. 72 A;

L. 78 G; L. 23 I. Add to these:

Ch'ou4. A dog following the scent of a track with its (L. 159) nose;

By extension, a bad smell, stench, putridity. — Phonetic series 523.

Chueh2. A dog that stands up in the grass, to look all a round

Ti2. From dog and fire. Barbar ians of the N. W. regions. A race of dogs, says t he Glose;

The fire indicates the havoc they wrought. — The gen u ine e xp l a na t io n is; nomads whose bivouacs ( camp-fires), were watched by fierce dogs.

Hsien4. To offer in worship to the deceased ancestors , the cooked flesh of a fat dog;

dog, caldron, This was the utmost of f i l ia l piety, the most palatable of a l l offerings. General meaning, to present, to offer. Compare L. 66 G.

Pa2. A dog led in a leash, by a string tied up to a leg, according to the Chinese way;


Yin2. Two dogs that bite each other;


Yu4. A litigation, a suit, Two dogs representing the two suitors, who revile each other, who accuse each other; By extension, a tribunal, a prison, a jail.

Ssu1. Judge. It represents the same idea. The judge between the two suitors.

Yu2. A setter which sents the game, folds its ears; Compare L. 134 A. By extension,

amazement, surprise, singular, extraordinary, There are different chia-chieh. K'ang-hsi erroneously classified this character under the 43lh radical . — Phonetic series 95. It is found in the following (modern form; while in the ancient character, there was , above A ).

Mang2. A shaggy dog; — Phonetic series "293.

LESSON 135.

About the primitive Hu1. This character represents the tiger's strips:

— It is the 141th radical. — See again L. 58 L), L. 69 D, L. 27 H, L. 40 A, etc.

Note the following compounds:

Hu3. The tiger, the king of wild beasts says the Glose. It represents the tigers skin, and its hind-legs on which it stands up like a man when leaping; — Phonetic series 362 It forms

piao1, striped as a tiger's skin; See also below G.

Lo3. To seize, to capture; L. 153, To seize a n d to b i n d

; is phonetic.


Lu2. It is der ived from L. 150; is phonetic. A vessel. In the more recent form, vessel is a radical redundancy. There are different chia-chieh. — Phonetic series 823.

Hsi4. An ancient earthenware vase in form of a tiger; L..165 It forms hsi4, comedy, game.

K'ui1. A bird not well determined; is phonetic. It is phonetic in

K'ui1. To injure, to wrong, as by a pernicious breath; a grievance, a deficiency;

(L. 58 E).

Ti1. A tiger in its cavern. Compare L. 23 H. — Phonetic, series 573.

Yao. Cruel, wild. A tiger which scratches a man . The tiger's feet were replaced by its claws. The disappeared from the modern character;

It forms yao4, malaria, a p e r n i c i o u s fever .

LESSON 136.


First series. lu4. Lu4. Antelope, gazelle, deer. On the top, the horns; at the bottom, the feet (L. 27 I, note 1); in the middle, the body; — It is the 198th radical. Phonetic series 633. It forms

Piao1. Roe. From ; (L. 50 0), contracted into , is phonetic. — Phonetic series 810.

Ch'ing4. To congratulate. To go (L. 31 C) and present to somebody, on a festive day, a deer's skin with hearty wishes. This fur was the gift commonly offered in ancient times;

Etymological Lessons. 136. 137. 138. 307

Yu1 . A hind; denotes the female; compare LL. 132 A and 26 I.

Li4. See L. 163.

Ch'en2. The dust raised by a band of stags. There is now but one stag Dust in general.

Second series. ssu4. . Ssu4. It represents an a n ima l , either a buffalo or a yak ; Chai3. The philologists consider this

character as being composed of the two preceding primitives, A and B, contracted. The head of a lu4, and the tail of a

ssu4. Probably the elk. In the modern form, the head of the lu4, was replaced by a small stroke, which is a common way of doing.

LESSON 137.

About the primitive

Ma3. It represents the head, mane, legs and tail of a horse; — It is the 187th radical. Phonetic series 552. Different compounds of this p r i m i t i v e were explained elsewhere, e.g. L. 129 C;

L. 17 E, etc.

LESSON 138.

About the primitive

Niao3. It represents a bird with a long ta i l (compare L. 168); — It is the

196th radical. - See again L. 22 B; L. 21 C. Note ming2, singing of birds . Etc.


A contracted form of the last, wi thout feet, in the next two:

Tao3. Island. The tops of mountains , rocks that emerge f ro m the sea, on which the sea-birds live. Note that in the ancient form, is not contracted.

Hsiao1. A bird of prey waiting on the top of a tree. See L 119 K. The head alone is seen; the legs

are concealed in the foliages; hence the contraction.

Another contracted form, without head, in the following characters:

Yeh2. A magpie. A special head (compare L. 29 B, L. 139 B). It is phonetic, in

Hsieh3. To set in order, to arrange the objects in a house;

By extension

to set one's ideas in order, by writing; to write, to com pose;

Yen1. The pheasant A special head, that is not (L, 112 I), Now, chia-chieh, an interrogative particle — Phonetic series 660.

Wu1. A crow, a raven, black; It differs f rom niao3, only in this, that the stroke in the middle

which represents the eyes, is omitted. Perhaps because there is no contrast, between the black eyes of the raven a n d its black feathers. — The second character, yu2, is said, by some philologists, to be an

arbitrary contraction of the first. This interpretation is not well founded. Yu2 is a relatively modern character, invented to be used as a particle denoting the relation t h a t exists between the terms of a proposition; its use is a merely grammatical one. It represents graphically the connexion (left side) between two distinct terms. Anyhow, is unconnected with L. 117 C. — Pho- netic series 582. Phonetic series 419.


LESSON 139.

About the primitive , and incidentally about

Chiu4. This character re.presents a mortar; The first ones, says the Glose, were holes made in the ear th; hence the meanings, pit, large hole, in the compounds. Later on, the mortar was made first of wood, then later of metal. — It is the 134th radical. See L. 47 N, L. 102 A, etc. Note:

Hsien4. A snare, a trap. A man who falls in a pit ; See L. 28.

B. — Phonetic series 360.

Yao3. To draw up wi th the hand, the contents of a mortar; To draw up, to empty out. — Phonetic series 584.

represents the head of certain animals, e.g. L. 29 B; L. 138 C; a n d

Shu3. Rat, rodents in general; The head, the stiff whiskers, and the tail.

The ancient character represented the animal. — It is the 208th radical. It forms ts'uan4, a rat in its

bole, to hide. See L. 37 C.

Lieh4. It was explained L. 40 B; it is , with another head and stiffy hair.

LESSON 14O

About the primitive

Lung2. The dragon When it ascends to heaven a n d flies, it rains; when it hides in the wells, there is a drought. Vapours and clouds personified. The ancient form is a representation sufficiently recognisable. The modern form is explained thus; on the right, (L. 11 A) contracted, the wings; on the left, at the

310 Etymological Lessons. 140. 141. 142.

bottom, (L 65 A) the body; on the top, is thonght to be (L. 120 K) contracted, used as a phonetic; The last derivation seems to be an artificial interpretation of a conventional abbreviation. — It is the 212th radical. Phonetic series 824. The characters of this series, the sound of which is quite different, as hsi2, for instance, come from an ancient series in , that was contracted by the scribes into

LESSON 141.

About the primitive

Yen4. It represents the swallow; the head, the body, two wings expanded, the tail.


LESSON 142.

About the two p r i m i t i v e s , and

First series. yu2.

Yu2. Fish. The first ancient character furnishes a faithful likeness. The two others are composed of a sharp head, a scaly body, and a tail. See L. 17 K. — It is the 195th radical of characters relating to names and parts of fishes It forms

Lu3. Stupid, blunt ; (L. 159, contracted into ) the nose of a fish , without scent, — Phonetic series 809. Chi4. To cut open a fish . It forms chi4, a proper name.

Yu4. To fish There were, in the ancient form, two fishes denoting many, in the water.

Hsien1. The result of a fishing, many fishes.


Second series, chiao3.

Chiao3. Horn.It is (the second ancient form), the tail being left out, because, says the Glose, the horns have much resemblance with the lanceolated fishes. Or rather, it is simply a special primitive, that represents a striate horn. — It is the 148th radical. It forms

Tsui3. Egret ( h o r n ) of a heron and other birds; (the sound was

changed), It is phonetic in tsui3. bill, mouth.

Hu2. Chinese measure, holding ten pecks(L.98 B); is phonetic (the sound being altered ).

Chieh3. To divide, to undo, to solve. A bodkin

made from the horn of an ox, and used to

untie; — Phonetic series 725.

Heng2. This character is of a recent formation. A big piece of wood, a yoke fixed to the horns of oxen ;

is phone t i c . A transversal piece, as a beam, etc.

LESSON 143

About the primitive

Jih4. It represents the sun; — It is the 72th radical of characters relating to the sun and limes. — Many compounds of this primitive were explained elsewhere. See L. 73 A, L. 114 B , L 78 G,

L. 17 J, L. 60 L, L. 133 C, L 92 E, L. 120 K, L. 112 I, L. 42 C, L. 47 P, L. 47 S, L. 34 G, etc. Note the following:

Tan4. The sun above a line, i.e. the horizon; The morning, the dawn. See L,

76 D. — Phonetic series 162

Yao3. Darkness. The sun setting below the es,tre


Kao3. The sun shining over trees, (L. 120 K) is between both. Therefore for the

progressive rising of the sun, we have the. fine series Lastly

Hao4. The sun pou r ing down its rays u p o n met; the sun at its he i g h t

The form , the sun in the skies, is of a relatively modern format ion . Compare L. 00 F.

Tsao3. The morning, early. Compare above C. Here the guiding-mark is (L 152, contracted into

) a helmet, the height of a man with a he lmet ; It is phonetic in

Ts'ao3. Pr imi t ive ly a p lant that was used to dye in black. In that sense, the character in now written

or , arbitrary forms whose actual pronunciation is tsao4; while became the generic name for herbaceous plants, as is the na me for ligneous plants.

Cho1. High, elevated. It is unconnected with the last. It represents a k ind of mast surmounted with a ball an d a pendant, a decoration the Chinese are very fond of. — Phonetic series 339.

Ching1. Luster, brightness. What is produced by the three heavenly lights, sun moon stars; See LL 62 C and 76 F. Note the following:

Tieh3. Development of the character , which was explained L 64 F. To dispose, to set objects in order. The three. represent three objects and are mere symbols (L. 149 F, note). By extension, to redouble, to pile up, to fold up. The scribes first changed into , and then invented the modern character which was later on abbreviated in a strange

way.

Etymological lessons. 144 145. 146. 313

LESSON 144.

About the primitive , which formed the character Ch'ou2. It represents the ploughing. To trace

furrows in the fields; Curved lines, to lessen the figure. Now . It forms.

Chou2. To ask, in the Chinese way, by turning and returning one's speach. This character is now also written , which is a cause of confusion.

Chou2. Another, but unauthorised, variant of the last. The modern scribes substituted to . Hence the modern forms of the following.

Shou4. Longevity, long life. On the top, old, the radical contracted (L. 100 A). At the bottom, the preceding, as phonetic. The scribes altered this character in different ways. — Phonetic series 788.

LESSON 145

About the primitive Wa3. Tile. The Chinese roofs are made of rows alternatively convex and concave, the curved tiles

overing each o the r at the side, and being jointed together wi th l ime. Hence the form of the character:

a t i le gets hooked with another ; between both, — the lime. By extension, a general name for earthenware, pottery, etc. — It. is the 98th radical of a few characters relating to earthenware.

c

LESSON 146

About the pr imi t ive Erh3. The ear. In tended to represent the pavil ion of t h e ear. It forms the 128th radical of a na tu ra l group f characters re la t ing to hearing. Phonetic series 194.

— Dif fe rent compounds were explained elsewhere, e.g. o

. L. 10 O; L 81 H. Add the fo l lowing:


Ta1. Great ears hanging like a hog's or spaniel 's ; hangling, dangling. This is a modern character Ch'ih1. From ear and heart, because the ear reddens when a person is ashamed; to feel shame, to blush, to redden. Wen2 To learn any news by hearing at the door. To hear, to learn, to smell. Keng3. To feel fire in the ears, agitation ardour, generosity. Compare L. 126 A.

Che1. lt is supposed To represent long flapping ears, by the addit ion of an appendix.

Ch'i1 To asperse, to blame one, which is done by whispers in the ears; — Phonetic series 425

Jung 2 The luxuriant growth of plants. is given as an abbrevia t ion of a phonetic.

Yeh2. A final particle. It is said to he an arbitrary contract ion of (L. 1 4 7 B). — Phonetic series 4 1 4 .

Ch'u3. To lay hold on, to take, to seize. A hand that holds an ear; In composition, to gather, to combine. — Phonetic series . 349. It forms

Chu4. To gather; It was explained L. 27 K.

Ts'ung1. Collection, to join; See L. 102 I.

Tsui4 To scrape together; See L. 34 J. — Phonetic series 711.

Etymological Lessons 146. 147. 315

Nieh4. Composed of three ears, showing one ear coming close to two ears; to whisper, to plot, to conspire; — Phonetic series 842

H The following character is added as an appendix, because its modern contracted form is l ike , though it has noth ing in common wi th i t .

Kan3. To dare, h o l d , i n t r e p i d . . . On t h e l e f t , t h e bea r (I.. 27 J) whose paws were suppressed to g i v e room. The modern scribes a l tered t h i s p r i m i t i v e . On t h e r ight , a ha n d t h a t w h i p s a n d provokes t h e hear . — Phone t i c series 622. It forms yen3, to a t t a c k a b e a r in its cavern, which opera t ion does not go w i t h o u t On cries a n d howl ings . Hence

Yen2. Derived meaning , a severe i n j u n c t i o n of a super ior made, in t he Chinese w a y , w i t h great cr ies . — Phonet ic series 858.

LESSON 147.

About the p r imi t ive

Ya2. The can ine teeth, hooks. The charac te r r ep re - sents their m u t u a l j o i n t i n g , C o m p ar e LL. 54 F a n d 145 A. — It is t h e 9 2 t h r a d i ca l . Phonetic series 91. — Different compounds of th is p r i m i t i v e were e x p l a i n e d elsewhere, e g. L. 37 D. Note

Hsieh2. Na me of an anc ien t c i ty l y i n g in the East of Shantung; is phonet ic Now it means, i m p u r e , depraved, vic ious (chia-chieh for , a soi led g a r m e n t ) . The cha r ac t e r y e h 2 (L. 146 E) used as

a particle, is given as a modern dif ference of


LESSON 148.

About the primitive Shenl. The p r imi t i ve m e a n i n g is, concept ion (

st i ll means, to he p r e g n a n t ) . The character represents a h u m a n body (L. 25), wi th a big bel ly (a pa r t i a l pr imi t ive ), a n d a log moving forward to keep the equ i l ib r ium; By extension, the body, a person, a body's l i f e dura t ion . — It is the 158th radical of characters re la t ing to the shapes of the body. Different compounds were expla ined; e.g. L. 131 D; L. 90 F; etc.

I 1 . It is inverted; To t u r n

r o u n d . It forms

Yin1 . The a n c i e n t dancers a n d pantomimes , who made the i r evolutions brandishing banners or feather- brooms, and t u r n i n g their body in a l l directions;

By extension, m o t i o n , a c t i v i t y , h i g h sp i r i t s , zeal. In t h i s sense, t he m o de r n com po und is now c om m only used.

LESSON 149.

About the primitive T'ien2. Field, count ry . It represents a furrowed field ;

This character being simple and easy to write, is often used, as a symbol, for any object. — It forms the 102th radical of characters re lat ing mostly to fields and land. Phonetic series 161 — We saw the compounds L. 91 B; L. 36 E; L. 60 E; L.53 C; L. l71 . — But is subst i tu ted to ano the r character in L. 104 A ; L 123 D; L. 10 A ;

L 150.

Miao2 Sprouts, vegetation at the surface of the fields; — Phonetic

series 464.. Chi2. A man who goes and sees his fields, who works t h e m ; consequen t ly , t h e growing of t he

lan ts; p It forms chi2, corn, agriculture.


Li3. Composed of field and combined ; The smallest hamlet, eight families culti-

vating a ching3 (L 115). By extension, the side of a ching3. the Chinese mile, now u s u a l l y measuring 1894 to Engl i sh , or about 600 metres. — It is the 166th radical . Phonetic series 287. It forms Ch'an2. The distinct g r o u n d on whic h each f a m i l y in t he h a ml e t erected its d w e l l i n g : —

A shop , a s t a l l , an estate. — Phone t ic series 795. Chiang 1. Fields separated one from another. It was la ter on replaced by

Chiang1. Pa r t i t i on represented by t h r ee l ines, That div ide two fields ; a l imi t , a b o u n d a r y ;

— This character is now replaced by , in which is a redundancy, a n d represents the l and-measur ing compass. — Phonetic series 724.

Lei2. The fields, the country. — Phonetic series 803. It f o r m s

Lei2. R a i n y clouds above the fields (L. 93); s torm, t h u n d e r . — Phonet ic series 743.

Note : is o f t en used as a symbol, to mean a heap , an order ing of things. Compare L. 72 L. For ins tance in

Lei3. To b u i l d , by p i l i ng up pises.

Lei3. To jo in in a series, to b ind together many objects. The modern fo rm is a contract ion. —


Tieh2 . To fo ld u p . It should be wr i t t en . See L 143 G.

The scribes imagined, for rapidity's sake, to replace the a n d piled up, by or . For in s t an ce :

318 Etymological Lessons. 150. 151 152.

LESSON 150.

About the pr imit ive Tzu1. It represents a vase, e a r t h e n w a r e , p o t t e r y ;

It has no th ing in common e i t h e r w i t h (L 119), or w i t h (L. 12 E) The modern character is a f a n c i f u l form inve n te d by t h e scribes. Not to he confounded with tzu1, an unc u l t i va ted f ie ld , e x p l a i n e d L 12 I. Phone t i c series 406. It occurs, as a radical, in a few compounds in which the modern scribes, and K'ang-hsi, always write . For instance:

Lu2. A vessel. See L. 135 D.

LESSON 151.

About the p r i m i t i v e

Yu2. It represent s t h e g e r m i n a t i o n of a f r u i t - s t o n e , of a large gra in ; r e p re se n t s t h e g r a i n , on t h e t o p

h i c h the. ge rm is c o m i n g u p ;of w By extension, beginning, pr inc iple ,

o r ig in , s t a r l ing po in t , cause, to produce, etc. — Phone t ic series 170. See i t s r ad i ca l c o m p o u n d s yu2

(L. 55 K) , and, p'in2 (L 58 C).

LESSON 152

About the primitive Chia3. P r i m i t i v e sense, a h e lm et . The character represents a he lme t upon two strokes f i g u r i n g a t a l l m a n , Later on, by extension, f u l l a r m o u r ; last ly , any hard cover ings, us the cara- pace of turtles, the scales on crocodiles, etc. Different chia-chieh, the first of the ten stems in the cycle, etc. — Phonetic, series 109. See , the sun risen to the height of a man wearing a helmet, L. 143 E. Compare the ancient form of L. 125 F. It forms Jung2. Defensive. arms and offensive weapons. See L. 71 O. — Phonetic series 217.


Pi1. A dr inking wase held with the left hand. Chuan-chu, vulgar . See L. 46 E, where this character was fu l ly explained. Here representing the vase, is properly a special primitive that happens to resemble

to chia3, above A. — Phonetic series 388.

LESSON 153

About the two primitives and Kuan4. To pierce, to string, to tie together different objects. The primitive represents two objects (separated by the vortical line), two cowries strung together, says the Glose (the horizontal line);

It forms

Kuan4. Long string of cowries . To pierce, to string, to lie. Hence kuan4, usage, custom, experience.

Shih2 Primitive meaning, to have strings of cash in one's house, to be really rich, and not in appearance only. Hence the. actual chuan-chu meaning, true, the same inside as it is outside, massive, homogeneous, etc.

Lo3. To capture; to tie strongly; represents the ferocity in capturing, and is also a phonetic. A captive. See L. 135 C. Not to be confounded with L. 53 C.

Ch'uan4. To string. The character is like , above A. Two objects (not mouth) strung on a vertical rod. Compare L 109 A. It forms

Huan 4 . Aff l ic t ion ; a heart pierced, a series of troubles.


LESSON 154.

About the primitive , written by the modern writers or otherwise.

Tseng4. It represents the cover of the, Chinese caidron, used to stew bread etc. Now It is found in

Ts'uan4 Chinese hearth. On the top, the cover and its supports; then the masonry holding the caldron; at the bottom, the hands pulling wood in the fire; It is found contracted in the following:

Hsin 4 . Pr imi t ive ly , to sacrifice to the hearth; Later on, bloody sacrifice, Cf. the

Li-Chi ;.BK IV, Sect. VI, par I I ; BK. XVIII , Sect. IV, par. 33. — On the top contracted. In the m i d d l e the offering, Al the bottom

phonetic. In order to shorten it, the scribes i m a g i n e d

LESSON 155.

About the primitive Ko2. It represents a three-legged caldron See page 386 — It is the 193th radical. Phonetic series 545. — Sec li1, L. 87 B; keng1, L. 103 A; hsien4, L. 134 A; etc.

LESSON 156.


First series. ch'ai3. Ch'ai2. It represents an ancient book, written on laths of bamboo, lied together, The scribes imagined the modern form , which was wrongly classified by K'ang-hsi unde . — Phonetic series 103. It forms


Shan1. To correct and expurge, which was done by erasing with a knife what displeased in a book;,

It is from this character contracted, that are derived the compounds ended in an, in the series

Tien3. The canonical books, Confucian Canonics, Their excellence is graphically represented by the fact that they are placed high on a stand, out of respect; The modern scribes kept something of the ancient form. — Phonetic series 398.

Pien3. An inscription hung over a door;

By «tension, flat, those inscriptions being written upon a tablet. — Phonetic series 473.

Lun2. To gather texts to develop them. See L 14 G. — Phonetic series 380.

Yao4. A collection of pipes , the holes of which are put in a straight line on the top. See L. 14 H. — It is the 214th radical. Phonetic series 835.

Ssu4 To assert before judges one's titles to a succession. To succeed, heir, etc. The ancient character simply represented son, legal.

Second series k'uai3.

K'uai3 It represents the plaiting of a mat, by interlacing the rushes. It forms

K'uai3. The hand plaits a mat with straw. A family name. The modern scribes changed into

; not to be confounded with L 64 I


LESSON 157

About the primitive

Min3. It represents a vessel, porringer, plate;

- I t i s the 108th radical of characters mostly relating to dishes. It is phonetic (min, ming, meng) in the following:

Meng4. The eldest son. The first. — Phonetic series 382.

Wen1. To feed a prisoner (L. 25 B); benevolence, char i t y ; The scribes i n v e n t e d the second form. — Phonetic series 5 0. See. elsewhere, L. 169 D; I, 135 D; L. 125 C; L 19 B; L 38 G; L. 50 B; L. 110 D, etc.

Hsueh3. A vase f u l l — of blood. Blood. See L. 1 J. It forms L. 82 F. - It is the 143th radical of a

chnracters relating to blood, under which K'ang-bsi lassified

few wrongly c

(L. 27 K). Phonetic series 208.

LESSON 158

About the primitive

Mu4. The h u m a n eye, Firstly the socket w i t h the two eyelids a n d the p u p i l ; then the pup i l was suppressed; last ly the character was placed st raight in order to give room. — It is the 109th radical of characters relat ing to the eye and vision.

See L. 48 C; L. 7 A; L. 34 J; and L. 10 K . L; L. 118 D;

L. 37 F ; L. 26 L; etc. See L. 16 L; L. 27 K; L. 10 O ; L. 97 F; L. 34 J, etc. See L. 54 1, and L. 176.


First series. straight. Hsiang1. To examine, to inspect; The primitive meaning may have been, to watch from behind a tree , or to open the eye in the woods

, in order not to be surprised by a foe or a wild beast; The abstract meaning of reciprocity, that gives to this character such an extended use, is said to come from a kind of pun, the two elements and being both pronounced mu4. — Phonetic series 445. It forms

Shuang1. Hoar-frost; , — Phonetic series 834.

Chien4. To look. An eye above, a man; — It is the 147th radical

of characters relating to sight. Phonetic series 259. Note the compounds:

Mi4 To look for something which is not seen It is often contracted into

Te3. To apprehend, to take something which is seen . Compare L. 45 E.

Hsing3 To examine carefully, to try to understand; Two explanations of this compound are

given. — I. In the first ancient form, is said to be the eyebrows frowning so that the eye may see distinctly, in which case, would be hut a variant ot ( L. 7 A) — 2. The second ancient form gives,

to narrow the palpebral slit, to see better. — Compare , L. 18 M. — By extension Sheng3, a Province, the territory supervised by a governor.

Tun4. A shield, to shield. To cover one's self totally, the eye observing the assailant through a

cross-shaped flssure; — Phonetic series 489.


Second series. bent.

Mu4. The eyes divergent (L. 103 G) that look in different directions; squint, confused view ;

IN the following derivatives, is bent in order to give room. In the whole series, the modern scribes write instead of

Mieh4. The guardians of the frontiers (L. 71 N) looking in all directions, so that their eyes become heavy from fatigue Compare (L. 90 D). — Phonetic series 808.

Meng4. Dimness of the view. On the top at the bottom, to r u b one's eyes. It forms the compound

Meng4. The radical was substi tuted to the of the last. Dream, to dream; the confused and dim visions seen during

night.

Third series. doubled, the two eyes.

Chu4. To open large and t imid eyes, to regard with reverent awe, apprehensive, fearful. Fear, circums- pection. In the second form, more recent, the heart was added to express the interior feelings. This character is now commonly written

Ch'u2. Vigilance of the birds, that must always watch for their life's preservation ; fear. — Phonetic series 838. It forms

Kuo4. The vain endeavours of a bird to escape the hand by which it wasseized; by extension,

to snap up, to catch; — Phnetic series 851.


LESSON 159.


First series tzu4. Tzu4. It is thought to resemble the nose; — Extended meanings: 1. Self, I, my own,

personally; behaviour, to act, action; the nose being the projecting part, and in some way the, characteristic of the individual.. 2. Starting point, the origin, beginning, evolution; the nose being, according to the Chinese embryology, the starting point of the bodily evolution. — The, successive alterations of this character are the cause why it may be confounded with the primit ives L. 88, and LL. 143 and 73. — It is the 132th radical. See L.40 C; L. 134 A; L. 119H; L. 34 K. See L. 83 C; L. 27 I ; L.112 A; L.60 L; etc. Add the following: Hsi1. To breathe. According to the Chinese theory, the ch'i4. of the heart is breathed out, while the ch'i4 f r o m outside goes to the heart, through the

nose; — Phonetic series 534.

Hsi2. The first ( contracted ) attempts to fly , made by a young bird; By extension, to repeat the same act, to practice. — Phonetic series 610:

Second series. che3.

Che3. This character, an important grammatical par- tide, was invented to represent a connexion and a succession between the members of a text. It represents clearly enough what it means. On the top, two cros-

sed branches represent the members tha t came first; represents the point where one stands, the starling

poin t for what follows; on the right, a descending line, the continuation of the. discourse; By extension, phrase, speech, document. — Compare L. 138 D. — Phonetic series 422. It forms


Chu1. It is used, l ike the primitive, to separate the phrases, and to express their mutual relations;

Chia-chieh, all, whole, far

Shu3. To gather ( L. 39 C, a ne t ) documents ; to govern; a pub l ic office. — Phonetic series 789.

Ch'e1. To brag. A m a n who spreads sentences. By extension, prodigality, excess of all kind.

This is a modern character. A radical redundancy, over . Two sounds and two meanings Chu4, to expose, to manifest, to clear up. Chao2, a particle used to indicate the moods and relations. It Is often contracted into

Shu1. To write, a writ ing, a book. A writing-brush tha t writes sentences. The scribes altered

in a strange way.

LESSON 160.

About the primitive , with its developments Shou3. The head; Compare wi th

the nose, ancient form, L. 159. It forms

Ka4. A very long spear to a im at the heads of massed enemies (L. 71 ).

Shou3. The head. It is the p r imi t i ve with the hai r (L. 12). — It forms the 185th radical — Inverted, it becomes

Hsiao1. The head of a criminal, hung up. The hair is hanging down. The upper part is altered. See L. 12 N, and L. 92 B.

Tao3. To go ahead . A road, principle, doctri- ne. To lead, to go. The progress of a speech, to speak. Compare L, 169 B lu4 and chien4.


Mien4. The face. A primitive indicating the front of the head, the face;

The second modern form is an unauthorised abbreviat ion. — It forms the 176th radical. Phonetic series 466.

Yeh4. A man, head upon a body (L 29). The meaning is often restricted to the head;

— It is the 181 th radical. Different compounds were explained elsewhere, e.g.

L. 126 A; L. 62 B; L. 82 A; etc. Note also

Tien1. The top of the head; It is through the fontanel, that the soul of the (L. 10 L) Taoist contemplative goes out of the body, to rove about. — Phonetic series 848.

Yu1. To suffer from the head and from the heart; sadness, melancholy. It is phonetic in Yu1. To go with troubles; sadness, melancholy. See how the scribes altered the bottom of — Phonetic series 816.

Shun4. To swim in a stream, the head forwards; to follow the. current; docile, compliant,

agreeable; Lei4. A species, a sort, a k ind ; heads of

vegetals and animals, capita specierum.

Hsia4. A man who walks , his hands hanging down. It is the thing done by the countrymen in summer time when, the works being over, the plants grow by themselves; hence the extended mea ning , summer. The modern character is a contraction. — This character was the first appellative

of the Chinese nation. On the; ancient bronzes, it is written (L. 112 B) station, (L. 14 A) gather ing of (L. 40 D) huts. Sedentary state after the erratic period.

Kua3. Separation of the persons living in the same house, of married persons; a widow, a person, left alone, solitary; the regal We, Ourself. By extension, partaking of goods, diminution, little.


LESSON 161

About the primitive

Pei4. A cowrie, a small shell used for money in China in early feudal times. They were current together with the coppers invented later on, till under the Cb'in Dynasty (3d Century B C.); then the cowries

were left out;

The character represents the shell, and its propulsive apparatus. — It is the 154th radical of characters relating to values and trade. Phonetic series 298.—Many compounds (of this primitive, were explained elsewhere. Let us recall L. 52 E; L. 153 A; L 1 2 0 H ; L. 1 1 1 B; L. 130 D; L. 14 M; etc. Note the following:

Pai4. Ruin; to ruin; to break, to crush one's

own fortune, or another's;

Yuan2. A cowrie round ; Round in general. Compare L. 65 E. — Phonetic scries 586.

Chia3 Ku3. To buy. To cover (L 41 C) an object with its value in cowries,

Mai3. To buy. To wrap up (L. 39 C) an object with its value in cowries. — Phonetic series 697.

Fu4. The self-sufficiency of a wealthy man See L. 28 C.

Ying1. Cowries strung. A primitive form of the following:

Ying1. A necklace made with cowries, ornament of women in ancient limes;

By extension, an infant, a babe, a suckling, still hanging to its mother's neck. —


Etymological Lessons. 162 163 164. 329

LESSON 162.

About the primitive Kua1. It represents cucurbilaceous plants as cucumber, melon, etc; The exterior strokes represent the t endr i l s of melons; in the middle, a fruit hanging;

— It is the 97th radical of characters relating to the parts and sorts of gourds, etc. Phonetic series.

Wa1. Hollow, to dig. From (L 37); Is phonetic.

LESSON 163.

About the primitve Li4. A primitive, representing two pendants; hence the general notion of assortment, decoration, elegant, graceful, ornamented, etc.

It forms only the following compound:

Li4 Antelopes, that live in droves (idea of assortment); It is now used

chia-chieh, instead of the primitive, to mean, elegant, graceful, bright. — Phonetic series 844.

LESSON 164.

About the two primitives and First series erh2.

Erh2. Two explanations of this character are given: 1. It represents the radicles of a plant spreading in — the ground. Compare L. 15 A; L. 79 B. The ground is represented by — ; ( ) is the

part growing out of the ground; is the pa r t of the plant under the ground;

2. It represents the beard h a n g i n g from the ch in , unde r the — mouth (compare L. 41 B);

The second interpretat ion seems to be the


true one. The first came from the fact that the old shape of is like the bottom part of (below B). As to the use of as a particle of transition, it is derived from the notion of hanging from the chin. Compare L. 72 A. — It is the 126th radical. Phonetic series 193. It forms

Juan3. The beard of a man ; hair long, slender, not stiff. By extension, soft, weak. — Phonetic series 456.

Shua3. A modern character. To play, as the Chinese actors do, some with false beards, others dressed like women.

Nai4 To take patience, to restrain one's self, by playing with one's beard. This character is relatively modern.

Second series. chuan1. Chuan1. It represents a p lan t that develops itself above and under the. ground;

By extension, stalks a n d roots. Sec above A. — Phonetic series 434.

The compounds of this series ended in uai, come from the following contracted:

Ch'uai3 To measure with the span how high a plant grew

up . To feel, to estimate.

Wei1. A man striking a plant (contracted into ), to take away the fibres; to strip, to peel; fibres, thin, slender, imperceptible;

It forms

Wei1. To walk slowly , stealthily, to composition, it is used in the sense of . It forms

Cheng1. To explain with assurance (L. 81 D) the threads of an affair. To testify, to give testimony. — Phone- tic series 796.

Hui1. Slender thread

Etymological lessons. 164 165 331

Tuan4. The left part of this character is an abbreviation of , the top alone straightened and deformed being kept; on the right, (L. 22 D). To strike in order to reduce into fibres, as above C;


Hsu1. The rain necessary that the small plants strike root. Here the top of was suppressed, the bottom remaining. By extension, necessary, indis- pensable. Phonetic series 779.

LESSON 165

About the primitives and First series tou4.

Tou4 It represents a dish in which meat was served u p ; In the ancient form, t h e upper

did not exist, and a dot indicated the contents of t h e vessel. — It is the 151th radical of characters re la t ing to vessels. Phonetic series 307. — See the compounds, L 97 B; L. 135 E, etc. — B u t L. 38 G, and L. 112 H, have another origin. It forms

T'ou2. The head. From L. 160 C; is phonetic.

Shu4 Vertical, straight. A vase standing solidly (L 82 E) upright.

Tuan3. Short The character was made by compari- son, says the Glose. To mean long, the hair (L. 113) was chosen as an emblem; to mean short,

the two smallest utensils of the ancients were chosen, an arrow, and the vase tou4,

Second series. chou1. Chou1. A part ia l pr imit ive . The bottom is not , the vase above A; hut it depicts the, ancient d r um , with its skin, and the right hand straightened that strikes. By extension, music, feast, joy. It

forms


P'eng2. The sound of the d rum ; represents the strokes, or the isolated sounds ;


Hsi3. Joy; singing and music. There is no feast without these; see L. 88 C. — Phonetic series 680.

Chia1. Good, excellent, delicious; a baud of music; is phonetic (L. 53 D).

Ku3. A drum beaten by a hand holding a drumstick (L 43 D); a radical redundancy. The modern scribes often write instead of ;

— It is the 207th radical.

Chu1. A composition analogous to tha t of ; a hand (L. 45 B) beating a drum, It is phonetic in the two following:

Shu4. A tree

Ch'u2. Cookery; — Phonetic series 800.

Ch'i3. It has nothing in common with L. 164 C. Compare L 165 B. It is anothe r drum tha t made the pair, and which was beaten wi th the left hand. This meaning is now obsolete. The character is used as an interrogative particle. — Phonetic series 514. Note tai1, stupefied, the effect of the music upon dogs.

LESSON 166.

Chih4 A primitive. It represents a feline, a head with wiskers, paws, backbone. Feline beasts, that are characterised by their back long and supple, by their

undulating gait, e g. the cat, says the Glose. Compare the characters L. 69; L. 137; L. 136. — It is the 153th radical of characters relating to feline beasts.


LESSON 167.

About the primitive

Ch'e1. Chu1. The ancient carriage The character is straight, to give room; the axle; the two wheels; the body of the carriage;

It means in composition, to roll along, to revolve, to crush, etc. — It is the I59th radical of a large group of characters relating to vehicles. See

L. 128 A; L. 59 I; L. 60 M; L. 92 D. Note the following:

Lien2. Carriages in file Abstract notion of connexion, succession; — Phonetic series 630.

Ghun1. A legion of 4000 soldiers, with chariots; By extension, an army. See L. 54 A. — Phonetic series 438.

Kui 4 . The extremity of the axle, that projects outwards in a l l Chinese chariots. This extremity was formerly provided with a stopper to hold the wheel, now replaced by a peg; It forms

Chi1. To jostle and strike wi th the end of the axles, as the Chinese cars often do; Phonetic series 723.

Note: In the modern writing, became ; this wrong writing passed current.

Ya4. To crush, to gr ind; the action of a wheel (L. 9 A).

Hung1. Rumbl ing , roaring, as the noise of m a n y chariots.


LESSON 168

About the primitive Chni1. It represents a b i rd wi th a shor t tail (compare

L. 138 ); — It is the 172lh radical. Phonetic series 344.

See L. 126 A; L 60 E; L. 39 D; L. 62 G; L. 12 G; L 87 C; L 15 C; L 34 F ; L.

18 N; L 103 C; L. 72 .J; L. 158 G; L. 119 G; etc. Note the fo l l owing :

Shun3. A falcon he ld capt ive on the fist or on a perch.

Shun3. A large river in Central China, much frequented by birds of passage. — It is phonetic in

Hui 4 . Formerly, a piece of f u r n i t u r e ( L. 51 A). Now, chia-chieh for , t u r n i n g , confluence, a check, etc. It forms k'uai3, to car ry on the arm.

Chun3. Fixed, certain, to agree. This character is unconnected with . Possibly an ancient target ; is a contraction.

Wei2. To answer yes, to express one's assent ; is phonetic; It is phonetic in

Sui1. Formerly the name of an insect. Now a conjunction, Though.

Wei2. To consider, to think on, care, sorrow; It is phonetic in

Li2. At first it meant a net , a snare. It is now used to mean, care, sorrow, misfortune; while is used chia-chieh as an adverb, or a conjunction.

Ts'ui1. Very high, — Phonetic series 655.


Chin4. A band holding one bird, not the pair. Hence the meaning, single, by itself; Compare L. 103 C.

Shuang1 Two birds in the h a n d ; a couple, a pair, doubled;

Ho3. The rain surprising birds, and forcing them to seek shelter; The modern character is a contraction. — Phonetic series 819.

Ch'ou2. Words exchanged belween two parlies, altercation and its consequence, hatred, enmity. The following character was formerly com posed in the same way.

Shou4. To sell. Formerly the mouth, and two the buyer and the seller. All know the impor tance of the mouth in the Chinese markets. The modern character is a contraction.

Yen 4 . The w i ld goose; the birds d we l l i ng on crags, and which f ly in the, form of (a sharp angle):

N o t to be c o n f o u n d e d w i t h

Ying1. The falcon, now It is explained thus: the tame bird that serves to men;

In the ancient character, there was (L. 127 C), quick, sudden. It is the general name of birds of prey, eagles, cormorans, etc. — Phonetic series 767. It forms

Ying1. Ying4. To answer, to correspond, to do what one feels is r ight and ought to be, etc. is phonetic;

LESSON 169.

About the derivatives of (L. 44 D).

Nieh4. A hand writing upon a surface. See L. 44 D. It forms


Yu4. To trace lines , to write. See L. 44 D. — It is the 129th radical. It forms

Pel3. A writing-brush, whose, handle is made of bamboo.

I4 To exert one's self, to practise, as it must be done to learn how to write and how to shoot (an old form, L. 131 A) .

Ssu4 To expound long , to display, indiscreet. See L. 113 B.

Chao4. To place one's self near the window in order to write. It is obsolete. It forms Chao4. To push the window (the shutter) at dawning, in order to write. By extension, to begin, to undertake. Compare ch'i3, L. 129 A.

Lu4. A written regulation for the march ( L 63 A); a statute, a fixed law, an ordinance, tone;

Chien4. The composition is like the preceding's. To write regulations for the march (L 63D), for going on; to establish, to found, to determine, etc. — Phonetic series 430.

Shu1. To write sentences ; a text, a book. See L. 159 A. The modern character is a wrongly-formed cont rac t ion .

Hua4. To trace with the writing-brush a subject; to paint, to draw See L. 149 A. The scribes added a frame to , from which they first suppressed one side, then two other sides; there remains a — at the bottom of the modern character.

Chou4. The limits of time, during which it is clear enough to write; the day, the space

between two nights; Compare the composition of the preceding.


Chin1. A writing-brush that traces lines. This character soon became obsolete, because it made a double use with It forms, contracted into the following phonetic compounds.

Chin1. A ford,

Chin4. Ashes that remain from a fire. Hence.

Chin4. Ashes that remain in a brazier, when the fire is out; contracted became ;

By extension, ended, finished (the ashes being the final result of the combustion ), an action that

went to its term, consummation, exhaustion. — Phonetic series 774.

LESSON 17O.


Fei4. A special primitive with two sides, opposite each other. Abstract notion of opposition, contradic- tion, negation, wrong; no, not so;

Compare L . 27 G; and L. 127 D. — It is the 175th radical. Phonetic series 353. Note the compound

K'ao4. Primitively it meant to rebuke the wrongs of others; it now means, to lean against, to rely on. The meaning was changed, says the Glose; It does not say why. See L. 132 B.

Chiu3. It represents the famous garlic with its growing leaves; — It is the 179th radical. It is found in

Ch'ien1. Wild garlic, See the phonetic, L. 27 15. — Phonetic series 829.

Hsieh4. Shallot, From ; when it is pounded, it makes a precious condiment. See

L. 118 C. The modern form is a contraction; was suppressed.


LESSON 171.

About the derivatives of Huang2. Yellow. The h u e of loess. Composed of (L. 149), and of an old form of (L. 24 J), that are mingled together;

See L. 24 L — It is the 201th radical. Phonetic series 688. It forms Kuang3. A large hal l ; is phonetic. By extension, great, vast, wide,. — Phonetic series 802.

Chin3. Yellow (contracted) earth , clay potter's earth. The modern form is a contraction that passed current;


Han4 Clay dried in the sun. Contracted into , it forms the; phonetic, series 609. Note the following

sub-series: Nan2. The slate in which arc the birds, when the earth is dried and barren; famine, misery, difficulty of living. — Phonetic series 847.

LESSON 172.

About the partial primitive Yin2. Behaviour, gait, r itual politeness; In a house, a man (a special primitive, stiff bearing, on the top, a cap) pays salutations wi th both

hands. The modern character is a contraction. — Phonetic series 661.

LESSON 173.

About the partial primitive

Ch'ing4. On the right side, the well-known compound, to strike. On the left, a primitive that represents a sonorous silex, hanging from a frame;

See Textes Historiques, p. 82. Now Com- pare L. 83 B. — Phonetic series 604.

Etymological Lessons. 174. 175 176. 339

LESSON 174.

About the primitive

Ch'i2. A whole, regular and perfect, harmony. The idea comes from the even height of ears in a corn- f ie ld; There is, in this character, an intention of representing the perspective. The. down stroke , says the Glose, represents the. fore-ground; the upper stroke — represents the back-ground. The ears are ascending when going towards the hack-ground. Three ears represent a multi tude. — It is Ihe 210th radical. Pho- netic scries 771. Note the modern contraction. It forms

Chai1, abstinence; from and . In this character, the two horizontal strokes of are mingled together with those of , The m e a n i n g is, to r u l e

one's self, so that one may be fit to receive the warnings of heaven.

LESSON 175.

About the partial primitive Ch'ih3. The teeth. The ancient character was a mere primitive, representing the teeth appearing in an open mouth . In the more modern character, the phonetic was added to the mouth with its two ranges of teeth; — It is the 211th radical.

LESSON 176.

About the partial primitive

Chiao2. A vase for sacrifices, f u l l of aromatic wine (L. 26 C), held by a hand. The upper part is

a cover. In the middle, the vessel, whose r ight descending stroke has made room for Compare L. 46 E. The modern form is an arbitrary contraction ;



LESSON 177.

About two modern primitives, invented u nd e r the T'ang Dynasty.

Ka3. Convex. Wa1. Concave.

These characters do not require any explanation.

INDEX OF ALL THE USUAL GROUPS

analysed above

arranged according to the number of strokes.

The figures given refer to the Lessons, and the letters to the paragraphs.

1 8A

19 A

20 A

2'2 A

23 A

24 A

25 A

7B

8 A

8B

9 A

9B

10 A

11 D

12 A

26 B

29 A

30

D

33 A

34 A

34 H

38 B

2

2 A

10 B

12 D

13A

15

A

1

1 A

4 A

6A

6B

6C

7 A

342 Usual Groups. 2, 3 strokes.

52 A

54 H

54 H

58 E

58 E

59

E

59 I

60 A G

61 A

61 C

62 A

63 A

63 B

63 D

64 A

67 A

68 A

68 A

70 B

58 I

59 A

86 A fu 74 C i 94 H

3

3 A

5 A

5 B

10 E

10 E

11 B

12 E

12 E

14 A

17 F chung

18 H

21 A

24 C

24 E

24 H

26 A

29 K

30 A

31 A

31 B

31 C

31 D

32 A

33 B

34 I

35 A chin 35 H liang 36 A

44 A

45 B

45 H

47 B

38 H kung 85 E i 89 A ssu 39 A

39 B

43 B

46 B

51 A

52 A

52 A

52 A

53 A

54 A

54 F

55

H

55 B

K

55 K

56 A

72 A

74 A

77 A

78 A

79 B

80 A

81 A

82 A

84 A chi 85 A ssu 85 A i 87 A

90 A

90

A

94 H

96 A

98 A

102 A

103 D

Usual Groups. 3, 4 strokes. 343

52 B

54 E

55 B L

55 C

55 H

58 D

59 E

59 11

60

C

60 J

61 B

61 C

61 E

61 F

64 G y u e h 65 A ju

67 K

68 A

107 B

112 F

125 A

134 A

4

3 D

10 G

11 E

12 I

13 B

13 I)

14 K

15 C

18 B

18 C

18 F

18 M

19 B

19 D

39 A

39 G

42 A

42 A

43 C

43 D

43 E

43 G

43

O

53 P

44 B

44 C

45 I

47 B

48 Y

48 II

48 A

49 A

49 A

73 A

76 1

78 B

79 A

35 B fu 79 B sh i h 79 G fei 79 C

79 G

79 H

81 D t'irig 82 C j e n 79 D w a n g 83 A yu 83 C wang 83 D chu 85 E

87 A

93 A

94 E

22

D

24

H

24 N

25 G

26 D

26 E

26 C

27 A

27 1

28 H

29 E

29 H

30 D

32 F

33 B

34 E

34 J

34 K


95 A

95 B

97 A

97 C

98 A

98 B

98 B

99

A

99 E

100 A

101 A

107 A

109 A

112 A

112 E

112 K

112 L

114 A

115 A

115 D

116 A

117 A

118C

119 A

125 A

126 A

126 A

127 A

127 B

128 A

129 A

129 A

130 A

132 A

133 A

134 A

134 C

143 A

147 A

24 D

24 F

24 0

25 B

25 I

26 F

27 G

27 II

27 H

28 E

28 H

29 D

29 J

30 C

32 B

32 C

34 B

35 C

37 A

38 C

38 F

38 H

40 E

41 A

42 A

43 H

43 J

43 M

45 C

45 J

46 B

46 G

47 H

48 B

49 I

50

C

52 C

53 D

54 B

5

3D

10 F

10 G

10

G

14 I

14 I

15 B

16 A

17 F

18 D

18 E

18 G

18

O

18 O

19

C


116 A

118 B

118 C

118 D

119 D

120 A

120 B

120 C

121 A

125 A

125 I)

127 C

129 A

129 D inao 129 E yu 129 E yu 131 A

133 A

134 A

143 B

55 A ch'ing 55 D

55 K

56 B

56 F

57 I!

58 B

58 D

58 F

58 I

59 D

59 F

50 G

60 F

60 H

60

K

62 C chenn 62 C shan 64 D

87 D

88 A

90

A

91 A

94 B

95 C

102 I)

102 F

103 C

108 A

108 A

108 E

109 B

111 A

112

C

112 C

112 H

112 I

67 0

71 B

71 D

71 L

71 M

72 A

73 B

76 G

78 A

78 E

79 C.

79 F

79 I

81 A

82 D

83 A

79 D wang 83 D chu 85 B

85 E

145 A

149 A

151 A

152 A

153 A

154 A

156 A

156 A

157 A

158 A

158 A

162 A

169 A

177

177

6

2 E

10 C

11 F

346 Usual Groups. 6 strokes.

49 I

50 F

50 G

51 A

51 B

52 D

53 B

53 E

54 E

56 D

58 G

59 H

60 B

60 D

60 I

61 D

62 E

63 C

64 B

64 E

11

G

12 F

12 J

12 J

12 L

12 M

14

B

15 B

16 A

17 B

17 G 65 A 18 I

22 C

22 C

24 C

24 I

24 J

25 D

26 I

26 K

26 K

26 L

26 M

27 K

28 D

29 F

30 C

30 E

30 E

31 B

31 E

31 F

33 B

34 I

34 I

34 J

36 E

37 E

38 D

38 D

38 F

39 C

40 A

40 C

40 D

41 B

41 C

41 D

43 N

43 Q

44 C

45 D

46 H

46 I

47 J

47 K

47 V

49 E

65 C

65 D

66 A

67 B

67 D

67 0

67 I

69 K

70 A

71 C

71 G

71 H

71 M

71 O

71 P

72 B

76 A

76 H

77 B

77 B


99 B

102 C 1 1 4 C 102 D

102 E

103 A

106 A

110

A

1 1 1 A

112 A

114 C

114 C

115 A

115 B

1 1 5 B

116 B

117 B

118 A

118 C

120 E

120 H

122 A

122 B

124 A

125 E

130 C

133 B

135 A

138 C

138 C

139 E

143 E

146 A

147 B

148 B

157 D

159 A

164 A

78 B

78 F

79 B

79 B

79 D

81 B

82 C

82 E

85 C

85 E

85 V

86 B

87 B

88 B

90

D

92 A

96

D

96

18 M

20 E

23 B

25 F 60 H 26 L

26 M

27 D

27 E

27 F c h i a 27 I

28 J 148

29 C

29 D

29 E

29 H

30 B

30 E

32 F

34 I

7

2 C

11 F

11 G

12 C

12 F

12 H

13 B shan 14 C

1 4

L

14 Q

15 C

16 B

17 C

17 F

17 H ch i ao 18 E

348 Usual Groups. 7 strokes.

35 F

35 I

35 M

38 F

39 A

39 H

40 D

41 A

41 D

41 G

42 B

44 C

44 L

45 G

45 J

45

K

47 D

47 E

47 F

92 B

94 B

94 F

95 A

97 A

97 H

99 C

100 B

100 B

102 A

102 H

104 A

106 A

108 D

109 D

112 A

112 B

112 D

112 E

112G

49 C

49 1

50 A

52 F

53 C

55 K

55 K

58 C

60 G

60 N

61 A

64 F

65 E

67 F

67 H

67 L

67 P

69 A

71 Q

73 C

74 C

75 A

75 D

75 F

75 G

75 K

79 B

79 D

79 D

79 G

81 A

81 F

8t H

82 G

84 A

85 C

85 E

87 E

89 A

90

1 1 2 L

1 1 3 A

114 C

118B

118C

118 D

119 B

119 I

119 I

121 G

123 A

127 B

129 A

131 C

132 B

133 A

134 A

134 C

135 B

142 B


43 R

44 E

44 F

44 G

44 H

44 1

44 K

45 C

45 E

46 E

47 G

47 K

47 L

47 W

49 B

49 D

49 E

50 E

50 G

52 F

28 I

29 B

31 F

32 A

32 C

34 I

35 E

35 I

36 B

36 E

36 E

38 C

38 D

39 C

39 C

39 J

40 C

41 B

42 C

43 D

13 E

13 F

1 4

C

14 G

14 1

14 N

14 P

14 T

16 K

16 M

16 M

17 I

17 J

18 C

18 G

20 C

21 D

24 F

27 B

54 C

54 D

55 E

59 H

55 K

56 E

58 I

59 B

60

C

60 I

60 M

64 D

64 F

64 1

65 C

65 F

65 G

66 C

67 E

146 B

149 A

149 D

153 B

156 B

156 H

158 C

160 A

161 A

165 A

166 A

167 A

8

2D

10 C

10 K

11 C

12 K

13 C


103 C

106 B

109 C

1 1 2 A

1 1 2 I

113 A

114

B

115

B

115

D

117 A

117 C

119 F

1 I 9

L

I20

C

120

69 G

70

C

71 J

71 K

71 R

73 A

73 A

74 C

75 C

75 DEH

76 B

78 E

78

G

79 B

79 F

79 H

79 K

79 K

82 A

82 E

82 F

82 H

83 B

86 A

86 A

86 C

88 A

91 K

94 B

94 E

99 F

100 B

101 A

101 C

102 B

102 D

102 G

103 A

124

B

125 A

125 B

125 B

126 A

126 B

126 D

127 II

128 A

128 A

128 A

1 2 8

B

129 A

129 C

131 E

133 A

133 A

133

143 C

14 3

C

1 4 3

D

143 F

146 E

146 F

150 A

156 C

157 B

163 A

168 A

170 A

9

1 H

2 F

7 A

11 A

Usual Groups. 9 strokes. 351

55 H

56 C

59 H

59 H

60 H

6 0

K

60 L

60

O

61 F

66 D

67 H

67 J

68 K

68 F

69 F

71 P

71 P

72 K

26D

26 M

26 M

27 I

29 H

31 B

31 B

31 G

32

G

34 J

34 J chou 65 B chou 35 K

37 B

37 D

37 F

38 D

38 G

40 C

41 A

41 D

41 E

41

G

43 I

45 G

46 D

40 G

46 I

47 M

47 P

48 C

48 E

49 F

50 G

50 N

52 E

54 E

13 E

13 E

13 I

14 F

14 F

16 C

17 G

17 H

18 M

19 B

19 D

20 F

21 B

23 D

23 E

24

B

24 F

24 M

24

73 B

73 B

73 D

73 E

75 A

75 B

75 C

75 D

75 D

75 E

75 G

75 I

76 H

78 A

78 F

79 E

79 F

79 G

81 A

81A


83 C

85 D

90 A

90 C

90

D

94 B

94 D

95 C

95 C

97 D

101 B

102 A

102 C

102 C

102 D

102 D

103 A

103 A

112 C

112 G

112 H

112 H

112 I

117 B

117 B

1 1 8 A

119 F

120 H

190 I

120 K

121 C

122 C

122

C

125 A

125 C

125 E

129 D

130 B

131 G

133 B

143 D

146 C

149 B

156 D

157 C

158 B

158 D

158 E

158 F

159

B

160 A

160 A

160 B

160 C

161 E

164 A

164 B

164 D

165 B

167 C

169 B

169 B

169 D

170 B

10

10 L

11 1

12 G

12 J

13 H

13 I

13 I

14 B

1 4

C

16 D

16 D

76 E

16 F

16 L

17 D

18 C

18 E

18 K

18 L

21 B

24 K

25 M

25C

26 C

26 M

27 I

27 J

30 B

30 E

Usual Groups. 10 strokes. 353

47 N

47

O

47 T

47 V

49 G

50 H

50 I

52 G

53 E

54 G

54 G

55 H

55 K

58 I

59 C

59 H

59 I

60 F

60 L

62 D

65 D

6 6

B

68 G

68 I

69 B

69 C

69 G

71 P

72 C

75 B

75 D

78 D

79 B

79 B

79 G

79 J

81 G

82 A

62 B

86 B

86 B

87 C

90 F

90 G

91 B

92 B

92 C

92 F

97 E

98 A

100 C

102 B

102 D

102 I)

102 H

102 II

102 H

102 I

31 C

31 E

31 E

34 F

34 G

34 I

34 I

34 J

37 G

38 G

40 C

41 D

41 E

43 Q

44 I

45 G

45 I

45 J

46 C

103 A

104 B

106 B

109 D

111 C

112 G

112 H

113 B

117 A

117 B

117 I)

118 A

119 H

121 I.

125 C

126 B

126 F

129 E

130 C

131 B


131 D

133 C

134 A

135 G

135

H

137 A

138 B

138 D

139 A

1 4 3 E

1 4 6 D

1 4 8 B

149 C

155 A

157 C

158 G

159 A

159 B

160

162 B

164 C

165 E

167 D

168 G

11

10 D

1 2

O

13

C

1 4

M

14 O

15 D

16 F

17 E

18 L

18 N

24 M

24 Q

26 J

26 M

26 M

26 M

26 N

27 A

27 H

27 K

29 H

31 B

31 F

32 B

32 B

34 J

35 F

35 M

36 E

39 H

39

O

40

A

40

B

40 D

41 B

41 D

44 B

44 J

44 J

44 K

45 J

46 D

47

N

47

R

50

60

E

61

F

62

C

62

F

65

II

67

N

68

H

69

E

69

E

69

F


172 A

173 A

12

10

H

10 I

10

O

13 C

13 F

14

O

15

C

17 E

23 F

23 G

26 D

26 M

103 A

104 A

106A

106 D

110 B

112 E

117 B

117 B

117 D

119 E

120 C

120 H

120 H

120 K

123 B

124 C

125 B

126 A

127 B

128 A

78 E

78 G

78 G

79 H

79 K

81 G

81 H

82 I

91 C

91 D

91 F

92 G

95 A

96 C

97 D

99 D

101 B

102 B

102 B

102 G

129 A

129 A

131 C

131 F

132 B

130 A

136 B

138 A

138 C

142 A

142 B

146 H

149 F

153 B

159 A

167 B

168 F

169 C

171 B

171 B

36 C

36 E

36 F

38 G

38 G

39 L

40 D

40 D

41 B

41 E

41 G

42 C

43 J

45 F

46 D

47 C

47 U

49 H

55

G


120 H

120 H

120 H

120 K

1 2 1 I

1 2 1 L

123 D

126 A

126 D

126 D

126 E

126 F

126 F

128 A

129 A

129 C

129 D

130 B

138 C

143 G

75 G

75 I

78 G

79 H

79 H

81 C

82 A

82 B

82 D

82 H

83 C

87 C

90

B

90

D

91 G

92

D

93 B

97 D

99 D

100 A

100 B

101 B

102 D

102 D

102 G

102 I

103 C

107 A

1 1 0 B

110 C

1 1 1 B

1 1 2 H

1 1 2 H

1 1 5

C

1 1 7 D

118

60 F

60 L

62 B

62 H

64 C

64 H

65 G

65

G

69 I

71 D

71 I

72 E

72 M

73 D

73 E

75 B

75 C

75 C

75 E

146 F

153 A

159 B

161 D

104 B

165 B

165 B

165 D

168 K

169 C

171 A

13

1 2

G

14 D

14 E

16 G

16 L

22 B


126 C

127 D

135 C

135 E

1 3 6 C

139 B

142 B

142 B

149 E

149 F

159 B

161 C

164 C

165 C

167 D

168 K

17 E

17 E

18 N

21 C

23 F

27 K

31 E

3 4 I

35 L

36 C

99 F

102 G

102 H

102 H

102 I

108 C

109 D

1 1 7 A

1 1 7

D

118 C

119 M

119 N

121 E

121 K

122 C

123 F

123 F

125 C

126 A

68 C

69 D

69 F

71 P

71 Q

72 L

73 E

74 B

75 A

76 C

76 D

76 E

78 F

81 A

81 H

81 H

92 E

95 C

97 B

99 D

23 E

23 H

27 E

31 B

36 E

3 9 I

42 C

46 D

47 F

50 D

50 M

50 Q

52 E

54 G

54 H

54 I

59 H

60 L

60

O

40 C

40 D

47 0

49 G

62 G

65 G

68 E

69 J

75 B

75 B

14

3 E

16H

358 Usual Groups. 14, 15, 16 strokes.

131 D

1 3 4

B

135 F

1 4 4 B

1 4 4 B

156 H

158 F

159 B

160 A

161 F

164 E

165 B

76 F

78 G

82 E

82 F

92 E

97 I

102 H

102 J

103 C

111 C

1 1 2 A

1 1 2 L

1 1 2 L

1 1 7 D

1 1 8 D

1 1 8 D

1 2 0

G

126 B

126 F

23 H

23 I

26 M

27 J

34 D

34 K

34 K

36 E

37 F

40 A

47 B

47 S

47 X

47

Z

52 F

60 M

67 N

75 E

75 J

88 C

90 E

90 E

91 I

92 R

103 A

1 2 1 M

123 D

128 B

129 E

136 A

136 A

138 C

142 A

149 D

149 F

153 A

158 F

160 C

164 C

165 D

169 D

171 A

175 A

16

16 J

17 E

39 I

50 B

50 J

50 K

72 H

72 M

79 H

86 B

92 B

92 E

97 F

102 H

15

100

11 C

14

O

Usual Groups. 16-30 strokes. 359

79 H

92 D

103 A

160 C

160 C

163 B

171 B

86B

97 B

102 H

103 B

108 B

110 D

119 G

146G

158 H

168 G

176 A

105 B

149 F

176 A

10 O

72 H

92 D

94 C

143 G

105 C

110 D

23 G

72 K

73 E

1 0

112 G

120 I

121 D

121 L

135 D

140 A

1 4 1 A

142 B

158 F

159 B

168 H

177 B

71 Q

72 K

82 F

86 13

90 G

92 B

103 A

104 A

105 B

106 C

118 D

158 B

161 F

164 C

20

36 E

39 I

73 D

130 D

134 A

158 G

19

17

34 K

34 K

35 M

39

D

68 D

72 G

23 F

72 E

130 E

130 E

194 B

154 B

14 H

16 I

27 B

47 U

50 I

62 C

18

21 &

12 G

15 C

34 C

72 J

54 I

79 I

82 F

Appendix. 361

OLD GRAPHIES.

Whensoever the ancient Chinese noblemen had been favoured by their princes, or had experienced some kind of success or luck, they used to cast a bronze vase, in memoriam. Symbols and Characters relating the fact, were moulded on the interior side of the vase, which was placed in the ancestral temple of the family, and served henceforth as a ritual vessel, when oblations and libations were offered to the Manes. 0» the exterior side of the vase, the two eyes of the Ancestor, were figured, looking at his sons and grandsons with benevolence. We are indebted to these old bronze vases, for a l l the old Graphies we possess. Ancient Chinese epigraphy on stone, is non-existent. Many fac-similes of vases and inscriptions are to be found in the 4th French edition of this work, Caracteres Chinois, pages 361-452. In this English edition, the matter has been presented in a summary way.

Now take good notice of one thing, which uses to baffle novices in Chinese epigraphy. In a l l modern books, the engravers have replaced the old obsolete symbols which are not characters, by conuentional current characters chosen because of their form, without reference to their meaning. To translate those signs, would cause laughable blunders. For instance, instead of the symbol offering of meat, they engrave the modern character father, because the old character

father resembled the symbol offering. — In the place of the poured libation, they put a . — For the obsolete a distaff-load of textile fibres presented to the Manes, they put a . And so on. — Remember this, when reading the modern transcriptions of the following old Graphies, which have all been photographed from rare Chinese epigraphic repertories, such as

etc.

362 Old Graphies. First part. Symbols.

The most frequent of a l l Symbols, is a right hand offering , which is neither a flame, nor incense, b u t the smell of the offered meat, ascending towards the Ancestors.

Almost every time, beneath this symbol of offering meal, there is a sort of tear, symbol of the poured down libation of wine. Instead of the fall ing wine, they sometimes figure the splash of the wine having fallen on naked soil. This figure is rare, because it was r i tual custom to pour the libation on grass, spread out or tied into a bundle, which was burned a f t e r the ceremony was over. There are many figures of this bundle of grass, sometimes graphically reduced to a , or , or anything else.

Old Graphies. First part. Symbols. 363

Ordinarily the son offering to his father (and an-

cestors) is represented in an ethereal shape, which figures his being raptured and transported mentally in the presence of his Ancestors, by his filial love and desire to please them. Sometimes arms and legs of the son are figured.

The grandsons able to stand upright, are figured beneath the son (their father) holding up their hands in prayer. — The grandsons too young to stand upright, crawl between the

s of their father, oftentimes resembling frogs. — Sometimes the grandson is

figured like the son, but holding a

leg

skein of yarn, symbol of the succession of generations.

A added to the figure of a son or grandson, does not mean two. It is a sign of plurality meaning «All of them, as many as there are».


Sometimes the son does not offer the smell of the cooked meat, but the raw meat cut in slices, which are exposed on the shelves of a dresser. A libation of wine is poured, as usual.

Besides the smell of meat and the libation of wine, three things are presented at almost all solemn offerings. These are .

1 a box containing jade, cowries and pottery. 2 an amphora of wine, presented by two hands, with a ladle, 3 a distaff-load of textile fibres, with 2 or A hauds spinning.

The idea is very clear The Ancients offered to their deceased Ancestors, all the things without which the living could not be; viz. valuables, money, vases, stuff for clothes, wine. Analyse the three figures above...


The cowries, current money of old China, are offered strung up, often In great quantities, as much as a man can carry with a pole. — In some texts, the strings of cowries are figured in a compendious conventional form.

The offering of raw flesh is eventually figured by the l i v i n g animal , and the flint knife or the prehistoric axe indicative of the killing of it.

When the animal is not figured, the mere knife in the hand of the son, denotes that he has killed an animal to be offered.

366 Old Graphies. First part Symbols.

Sometimes the offering of raw meat is figured by the skinned hide of the victim fastened on a stake, accompanied by libations, etc.

The presence of the Ancestor to whom the offering is made, is ordinarily figured by the heel of his foot; see Lesson 112 A. In modern Chinese, to say in presence of, is before the heels of. — Now we are able to interprete the whole of the following two inscriptions... ( Left) In presence of my Ancestors, I offer raw meat, a libation, wine and tow... (Right) In presence of my Ancestors, 1 the son holding the flint knife, offer raw meat, libations, precious things, wine and tow.


Sometimes the offering is presented to a footprint, or to foot-prints of the deceased Ancestor. Now-a-days, as of old, the Chinese try to discern the foot-prints of the departed, on planks strewn over with sand or ashes. See above four figures showing the worship of foot-prints, In the first and second, there is one; in the third, there are two of them. In the fourth, the Ancestor has walked all a round the offering, sniffing its smell. In the fifth, the legs of the Ancestor are visible. The frame which enclo- ses three of these Graphies, will be explained on page 368.

In some very rare cases, the Ancestor is figured standing, and the offering is

presented to him directly. See above.


Sometimes the presence of the Ancestor is figured by his two eyes looking with benevolence at the offerings. As has been said on page 361, the benevolent eyes of the Ancestor are figured on the outer side of all ancient sacrificial vessels, staring at the offerers. Sometimes the two eyes are replaced by one triangle, symbolising sight in abstracto.

The temple of the deceased Ancestor, or rather the sacred niche from whence his transcendent influence is supposed to emanate, is figured by a frame, square or rectangular, often with inward curved angles.


Ordinarily the temple, and the presence of the Ancestor in the temple, are figured, either by a balustrade separating the nave from the sanctuary; or by the inlet to the sanctuary, a narrow pass between two or four pillars. All the supplicants, sons and grandsons, are standing in front of this entrance, the spot where the offerings are presented. — Hereby an excellent figure of the balustrade. In the sanctuary, the eyes of the Ancestor stare at the hide of the slahghtered victim, expanded on two slakes. In front of the entrance, raw meat and libation, as usual.


Some times, in a fit of rapture, the offering son is spiritually transported beyond the balustrade and the pillars, into the sanctuary, unto the very presence of the Ancestor. See above, on the left, the best figure Antiqui ty has bequeathed to us. It dates from the 2d dynasty (circa B.C. 1500), and shows a raptured son knee- ling in presence of his standing father... In the two other figures, the raptured son carries cowries or meat (knife).

In some very rare but most precious figures, the

deceased Ancestor is represented diving, head, foremost, from heavens above, towards the hand of his offering son.


Sometimes the Ancestor is figured by a ghostlike silhouette, with a single eye, often surmounted by a triangle. I call your attention to the second line of the text reproduced beneath on the right, in which you have firstly a fool- print of the Ancestor, secondly his ghostly shade.


Now we are able to understand all the Graphies on top of this page, and others on the following pages...

Presentation of a new-born child, To the sight of his Ancestor. Presentation of a new-born b tbe. the fontanelle of whose skull is not yet-

closed, in the temple, with a libation Presentation of twins, with offerings and libation. Presentation to the Ancestor, is his temple, of a pair of twins, brother and

sister, with offerings. In the presence of the Ancestor, after libation, offering of jade wine and tow,

by the son, a grandson having recently been born.


Offering of a banner. In the. second figure, the banner is offered, with a libation, to thank for the apparition of a foot-print of the Ancestor, in the temple.

Presentation of a new carriage... with offering of bleeding flesh on a stake, in the first figure., with the ordinary offerings, in the second figure.

Bunches of wheat are offered, to thank for the

harvest.


To announce to the Ancestors, the fabrication or a how and arrows, launching of a bark, building of a dwelling-house.

Offering to the mountains... to the clouds. — Invitation to the dragon to make the clouds burst and rain pour down.

Old Graphies. Second part. Texts. 375

This bronze plate, dating probably from the 20th century B.C., is the oldest specimen known of Chinese writing. It is not properly a text, bu t the enumeration of all kinds of animals ki l led in a great hunting. The document reveals... 1 t ha t the shape of the primitive characters differed greatly from tha t of their derivatives... 2 that the principle of composition of characters, was always the same, from the beginning.

376 Old Graphies. Second part. Texts.

On the day i-ssu, in presence of the deceased grandfather, the widowed grand mother (chief of the family) has offered, with wine etc., this bronze tripod, to last ten thousand years. Hoping that innumerable sons and grandsons will enjoy it for ever.

In the eighth month, on the first

auspicious day which was i-mao, the duke committed solemnly to the standard-bearers the new standards. This tripod was cast to commemorate the fact, and was presented before the tablet of the Ancestor of the clan, with the usual offerings... sons and grandsons worshipping in front of the sanctuary.


On the day keng-shen, the new emperor Wu- ting went to the eastern gale of the city, to salute the rising sun. On the evening of the same day, he ordered minister Hu to deliver five man-loads of cowries, to be presented with the ordinary offerings, as a token of gratitude for the pr ints of feet and h a n d s of the deceased emperor Hsiao-i, which had been noticed in the ancestral temple, five time», d u r in g the 16 months of mourning. This vase was cast and placed in the sanctuary, to commemorate the fact. — B.C. 1273.

378 Old Oraphies. Second part. Texts.

The emperor being

about to wage war against the marquis of Hsu, the duke of Chou requested me Ch'in (the official conjurer) to ana- ematise the rebels. So I Ch'in made with my hand the comminatory gestures, and pronounced with my mouth the imprecatory words. The- refore the emperor gave me hundred ingots of copper (o f six ounces each) as a reward. I Ch'in have employed the imperial gift, to make this vase, which I present to my Ancestors, with the ordinary offerings, in memoriam.

Old Graphies. Second part Texts. 379

In the 9th month, the moon being fu l l , on the day chia-hsu, the, emperor having worshipped at the ancestral temple, sat down in the ha l l in which the archives were kept. The Grand-Director Nan-chuang having introduced U-chuan of Lu, the emperor ordered first the attendant registrar to lake his tablets into his hands, and then dictated his wi l l , as follows: « U-chuan, I invest thee with the charge of inspector of Hu-fang. » — Having thus been honoured and favoured by the Son of Heaven, I, their grandson U-chuan, have cast this u rn , to gladden my glorious Ancestors. I hope it w i l l be the jewel of my descendants, for ever. — 9th century B.C.


During the .3th year of his reign (probably B C 768), in the 3th month, the

moon beginning to wane, on the day hsin-yn, the emperor staying at the new palace in the capital, feasted Chu, the chief of the Literati. During the banquet, as he was in high spirits, the emperor proclaimed: «I give master Chu ten strings of cowries. • . Chu fell on his knees and thanked. — Having thus been honoured and rewarded by the Son of Heaven. I Chu offer this anaphora with a basin, to the flrst Ancestor of ray race, and place them in the ancestral temple, to be the heredi- tary treasure of my descendants.


During the fifth month (B.C. 675), on the auspicious day ting-hai, the emperor being at the capital Chou, received the spoils sent by count Pien and others, after hav ing defeated the rebels south of the river Huai. There was some fine copper among the spoils. The emperor ordered it to be melted and cast, into the form of th is tripod, to be a jewel of his sons a nd grandsons for ever.


The emperor having received the prime mandate, the great gift of Heaven (imperial rank and dignity), on ascending the throne (B.C. 571) offers this precious basin, to the Spirits of heaven and earth, hoping they will prevent internal wars... To last during ten thousands of generations, for ever — [Take notice of the fifth character in the first line, the anthropomorphic figure of Heaven.]


In the year chia yu (B.C. 567), the eighth month, on the day ping-yin, after purification, the emperor went to the temple, performed the rites, and offered this basin to propitiate the perspicacions Spirits. May the Spirits (of heaven and earth), knowing the virtue of the emperor, give him peaceful days during ten thousand years, and conserve him his imperial mandate for ever.


1 Chui belonging to the imperial clan, remember often with veneration and

compassion, my Ancestors who died in bat t le for the service of the emperor. The Son of Heaven having bestowed great liberalities on me, 1 have cast in bronze and offer now to them this vase tun, as a token of my filial piety. May they bestow on me long l ife and durable prosperity... Made by me Chui, after the decease of emperor Ling (B.C. 545), to be the jewel of my family. — [Note thrice the anthropomorphic figure of Heaven. ]


This is a fragment of a long document contemporary with Confucius, which I quote to show the shape of the characters in which the Confucian Canonies were first written. After having witnessed those clumsy figures, I suppose you will be rather lenient with the blunders committed by their interprelers. [See 4th French edition, pages 442-449.]

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Chinese character etymology