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-- 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.
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PREFACE.
The end aimed at by the Author has been to analyse the an- cient forms ot 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 ohilologues. 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 com- plexes, 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 farnish some necessary ex- planation respecting the history, the categories, the analysis and the different classifications 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 characlers 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 fR § FPa-hsi, and their first drawing to B #4 Ts'ang-hsieh, two worthies of the prehistoric age. The syste- ‘matisation of the Chinese writing, is attributed to fy Wy 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 iuformation, and his orders were transmitted to the mandarins and to the people. The s# shih, recorders, registrars, scribes, were trained up in official schools, under the direction of a fg yf tai-shih grand-recorder.
The oldest # @f ku-wén graphies that have come down to us in their original form, are traced back to the 1th 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-wén are called by Chinese philologists #§ 4 chou-wén, or A B® ta-chuan greater seal characters, or if eh of k’o-tou-tz tadpoles. The origin of the lat- ter appellation is thus recorded, In the 2d century B.C., when the house in which
6 Introductory — Historical sketch.
Confucius had dwelt 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, 4 Kung 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 AJ Ghou 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 | was young, I still knew some scribes who left blank the characters which they could not write; now there are no more such men!» Consequently the # 2 ch’i-tzi «odd characters» were multiplied without restraint, to the great prejudice of etymology.
Towards the year B.C. 243, under the Emperor 4 44 ‘2 Ch’in-shih-huang who destroyed the classical books, 3s 4h Li-ssu, his prime-minister, published a new official index of the characters, and fixed a way of writing which became obligatory for scholars. His collection, entitled = ='B8 San-ts’ang, contained 3300 characters. This new form of writing was known as the dfx 3€ hsiao-chuan, lesser seal characters. — The study of the work of Li-ssi discloses two: facts:.. 1. 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 Peet closed before the times of Li-ssi, probably many centuries before him... 2. Deceived by the FF > 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 will be seen in the Etymological Lessons.
A few years after the catalogue of Li-ssii was edited, a new era Was opened in the study of characters. Two facts are peculiar to this change: aa excessive mul-
_ tiplication; a gradual transformation. Lat us briefly state th: causes of these philological phenomena;
Introductory. — Historical sketch. 7
1. 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. The Empire was gro- wing, learning was spreading; writing had become a public thing; the process JE 7 hsing-shéng (see page 10) being an easy one, all took to it. From this disorderly fer- mentation, 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-ssi 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 53 fo K’ang-hsi (A.D. 1746), contains 40,000 characters that may be plainly divided as fol- lows: 4000 characters in common use; 2000 proper names and dcubles of limited use; 34.000 monstrosities of no practical use. We are far from the legendary num- ber of 80.000 usual characters, ascribed to the Chinese language.
®. Causes of the gradual transformation of characters. — The first to be noti- ced, 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 of the fountain-pen of old, as it has been transmitted to us on a bronze of the 2d dynasty. Above, the reservoir holding the fluid, presuma- bly a black varnish. The narrow bamboo tube contained probably a wick, to regulate the flowing of the ink. Such an instrument traces lines any way it is moved, either backwards or forwards, straight or curved, as one likes, but all equally thick. Therefore in the 3€ chuan, greater or lesser seal characters of all ages, there are figures of every shape, round, oval, sinuous, the lines being all ani- formly thick. — Not long after the catalogue of Li-sst was edited, #2 3% Ch’éng-miao invented a 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 instrument on a rough material, the rounded figures became square, the curved lines were broken at right angles. Bul this uograceful writing being quicker than with ne fountain-jen, the wooden pencil was adopted for public deeds, and the AR 5 li- tzii or official hand, became the current writing, while the lesser seal characters remained the classical writing.
‘As it commonly happens, the way being opened, inventions succeeded one another. During his campaigns against the Huns, the general Be it Méng-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 he written and were replaced by arbitrary and fanciful sketches, — The materials 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 out 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-tzii, represents the Jy 3e hsiao-chuan as transformed by the writing-brush.
There is more. The writing-brush galloping, the strokes were connected up, giving birth to the 3% 42 = lien-pei-tzu; then it flew, throwing on the paper mis- shapen figures, which are called Ei ts’ao-tzu. The fancy for these novelties be- came 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.
Towards the year A.D. 200, after long travels undertaken to get the authentic originals, a literate of renown #Ff {ig Hsi-shén or FF JL FH Hsi shu-chung, vulgo &F J& Hsii-shih, published the lexicon HF ‘4c fff 4 Shuo-wén chieh-tzi. It was the collection of Li-sst, controlled, amended, explained and classified under 540 rational keys. The aim of Hsii-shén was to impede any ulterior altera- tion of the characters, by setting their authentical form before the eyes of all
scholars. His book contains 9353 simples and 1163 doubles, which makes 10.516 in all. It was not Jess useful to the nation, the admirers say, than the canals of the great #8 Ya It remained, from that time, the canon of the =} tzu, the authority consulted in all doubts, by Chinese philologists. All the dictionaries published for the last 17 centuries, boast of their having followed the Shuo-wén, || #t AW # AB.
But the work of Hsii-shén 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 antique ku-wén, and of philological studies which explained them. These successive discoveries were published, according to the Chinese way, in enlarged and annotated editions 0. the primitive Shuo-wén. See 5 4 38 pM HE SE. — Later on, under each key of Hsi-shén, were ranged a chronological series of ancieat forms, copied either from stones or bronzes that were discovered, or from books that were extracted from tombs or other hiding places, throughout the Empire. See 7; 2 ¥§§. — Published in fine books, care- fully 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 Hsi-shén. It gave the material for the Etymological Lessons contai- ned in this volume.
~3
Introductory. — Historical sketch. 9
For instance, Series of the character #& chin, prince, through 45 centuries.
14
4. The primitive form, ku-wén. 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 isso with all the ku-wén; the idea is determined, the form varies.
Then came a fanciful scribe who gave to the cap a curious form; whence the k’i-tzi 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-tzi 5. The hands figure the power, the mouth makes law; the idea is still the same, but the graphic ele- ments are partially different.
An idle writer, for the sake of abbreviation, replaced one of the hands by a simple stroke, which gave the oh’i-tzu 6.
This last character, being in use at the end of the Chou Dynasty, Li-ssi interpreted it: 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-tzi 8 and 9.
The writing-brush changed the li-tzi into the chieh-tzi 10, which is still classic in our days.
The latter being connected toge- ther, became the lien-pei-tzu 44, the successive abbreviations of which gave the ts’ao-tzu 12, 13, 14.
It is all about the same for the other Series.
40 Introductory. — Six Categories. I. ZY ZF LIU-SHU. Six Categories of Characters.
The Chinese philologists divide the characters into two great classes: the 3 wén, simple figures, avd the = tzu, compound letters.
The figures are subdivided into { hsiang or (@ J hsiang-hsing, imitative drafts; and # 3% chih-shih, indicative symbols.
The compound letters are subdivided into JK hui-i, Ache aggregates, in which all parts have a meaning; and in J& #¥ hsing-shéng or jf 43 hsieb- shéng, phonetic, complexes, in which one part has a meaning, while the other points out the pronunciation.
Let us summarise the matter, with a few details and instances. First category. Imitative drafis, rough sketches representing the object; Hy. §8 GE di. The Shuo-wén contains 364 imitative drafts. Example: 4 the right hand.
Second pategonye Indicative symbols. A figure that suggests the meaning; ji}
ih 8) ae. hi GE x&. The Shuo-wén contains 125 indicative symbols. Exam- ple: J action a the authority which exertsitself 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 dif- ferent elements; JE #4 @ iH L) 5. 48 7, The Shuo-wén contains 1167 logi- cal aggregates. Example: py, composed of [J mouth and Jf 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; J] AAR Bw wk, The Shuo-wén contains 7697 phonetic complexes. Example: 4. The first part Y, water, gives the meaning; the second fy, chan, gives the sound. The compound means, to tinge, to moisten, and is pronounced chan.
To complete the study of the jy @& liu-shu, there are two more categories to be studied, the #& 7: chuan-chu and the {fg fff chia-chieh. The above four categories are based upon the composition of characters. The last two are based upon their use. x
Fifth category. Chuan-chu. Acceptation of the character in a meaning more extended, derived, generalised, metaphorical, analogous, adapted, figurative, etc.
?
Introductery. — Six Categories 41
Example: |) picture of a fishing-net. By extension of the primitive sense, any net-work, cobweb, reticulate design; to catch with a net, to catch in general, to envelop, to gather, etc, All these meanings are chuan-chu. i. e. hbegolt by successive furns in the inlerprelation. 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 conerete 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:
{. In the first paragraph of the Analects of Confucius, one may find the charac- ter f meaning to rejoice. Now =f means to speak, and to rejoice is written ft. Once a scribe wrote Ef for ff. It was a mistake, a chia-chieh, which was not amended, on account of the superstitious respect for Lhe 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 making a new one, it was agreed that #F ko, to sing, should be used also to mean, elder brother. Though this meaning be unconnected with the composition of the character, however it was admitted. This was a chia-chieh, an arbitrary character. — Not afew usual cha- racters were thus given artificial meanings, besides their own meanivg and their different meanings chuan-chu. Othev characters, either names of Jost 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 any relation may be found between the two terms? The answer is very easy. There was not a proper character to 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, installedin its vew 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 to 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 aclogical aggregate,» or a «phonetic complex.» More commonly we shall
412 Introductory. — Composition and Decomposition.
content ourselves with the Chinese definition given in Chinese characters. The ordinary formulas for these definitions are thus given:
+, (f or ( JE hsiang or hsiang-hsing. Lit. imitative draft of the right hand.
J . 4% WH chib-shih. Lit. shows the thing, indicative symbol, to act, action.
FW KA) BS, @ OR, HB A. Lit. from 9 hand, draft; from J toact, symbol; by the fusion of meanings, to govern. This is a logical aggregate.
£,MR ALK D&B SE B. Lit, from 3 hand, from ff rod; by a fusion of meanings, to strike. A logical aggregate.
AAO. & 4, GU Bw, Lit. from GJ, to enclose; G gives the sound;
closed on the four sides, shut up hermetically. It is a phonetic compleax.
As for the derived or arbitrary meanings, we shall be satisfied with indica- ting them by the words chuan-chu or chia-chieh, inserted in the text. The most important chuan-chu have been indicated, bat not all the chia-chieh. The latter
are to be Jooked 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:
eae Seal ate ce Zi cen a a y
2
Bang ay ee /
Introductory. —- Composition and Decomposition. 13
Note well and do not forget that this reduction into simple strokes, into
material elements, has no 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 intricate 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:
BR, a logical aggregate, is decomposed into 8, JE. if e jf, a phonetic complex, is decomposed into F and fi o
If one says that ap and ie 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 i into = > jij, and fy into PY and j&. But here, this is not the question. What we look for, is the logical etymological analysis. Now, in the logical aggregate §%, the element 7p gives the meaning; it is therefore a formal element. In the phonetic complex jj, [gy 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 for- mal elements, which are used to compose the more intricate characters? — Before answering, one must distinguish two categories, indicated previously: the mean- ing elements and the phonetic elements.
1. Meaning elements. — Theoretically, any simple character could be used for the composition ofa 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. Callery, 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,
4
14 Introductory. — Gomposition and Decomposition.
As said above, we call primitives the elemeuts of the logical composition called by the Chinese 2% #f chien-shou, fundamental heads. The definition of this term is to be noted well. Primitive, formal meaning element that cannot ad- mit of an ulterior decomposition into meaning parts; or, more shortly, ideographic minimum. lo other words, the primitives are characters relatively simple, having sound and meaning, and which are not formally resolved into figures havingsound and meaning. Materially, they may be reduced into strokes, but this is without any use for the analysis. Just asa simple chemical body, or a bar of sulphur, or an iron ingot, can be smashed with a hammer, and yet 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 iu 4, Lesson 67 0; the thorns in 7, Lesson 120 H; the grains of salt in Ea, Lesson 41 D; ete. ;
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,agreater number of characters; the reason of this will be given below. Some Chinese authors numbered one thou- sand of them, which they called the thousand mothers of sounds. J.-M. Callery who made a special study of these characters and found in them a key to his system, numbers 1040. Our researches, circumscribed in the practical domain, gave 858 phonetic prolific elements. This list may be 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 first sinologists applied those grammatical terms belonging to inflected languages, to the Chinese language which is not au inflected one. In the phonetic complexes, they called radical the meaning part. They dared not call termina- tion the phonetic part, and with reason, for it would have been a mistake. They called that parl 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 definition of these terms?.. The reason is this: in sinologv, they were often used in an equivocal sense. —Some divided the charac- ters into categories, stating that such a one is a radical, and such a one a phonetic, while any character may be, in composilion, either a radical, or a phonetic, ac- cording to the part it has to act. —Others reduced the extension of theterm radical to the keys of the dictionaries, and gave as radicals only the 214 keys of K’ang-hsi;
°
Introductory — Composition and Decomposition. 45
they called phonetic any character which was not radical. — Hence arose ways of speaking, improper, equivocal and false. For example: because AK is the 75th key of K’ang-hsi, some say : the radical 7 is phonetic in 7, instead of saying: Fx is phonetic in vk, and radical in 4#f{. Because p& is the 190th key of Callery, some say: the phonetic pY is radical in f[, instead of saying: py is radical in RL, and phonetic in yt. — 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 com- position, radicals or phonetics, according to the cases. They form a class by them- selves 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 chan- ged, in order to get different characters. Example: In the category of trees, the radical of which is 7x, the phonetic 7 had given the phonetic complex FR A’u, dead tree. Now there is a kind of elm which is also pronounced k’u. For this elm, the character #2 k’u was made, in which 3 is used as phonetic; and so on for 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 he easily confounded. Hence arose a great number of dialectic differences. A Chinese proverb says that at a distance of one hundred Ji, people cannot understand each other. This assertion is exaggerated, but it is right to say that, at a distance of one hundred li, there are perceptible dialectic dif- ferences; 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 Ji, 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 ry. In the place and time when fy 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
416 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 én; fF was ended into yen and fh into yeh: which are dialectic differences of a common origin. In a Southern dialect, the ch of py became t in H}, and nin #: which are also differences of a common origin. 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, J A, 3% Ssti-ma kuang for instance, gathered under the mother word 4 its roving brood, it was diversified with odd colours; there were characters pronounced chan, chén, tien, nien and t'ieh. The compiler neither made a choice, nor criticised, nor tried to restore the primitive pronunciation, norreturned to a unique dialect, but simply set down what was then used, and posterity was told by him, once forall, that 4; was pronounced chan, that iff was pronounced tieh, and that na was their common phonetic. — Upon the whole, with regard to the phonetic series, note the three following points: 1. The sound was well deter- mined 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 that it is often so. The determination is somewhat vague for the final (vowel), still more vague for the initial (consonant), and nearly non-existing for the tone aud 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 accor- ding 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 usefal than by following the series by radicals or by sounds. It is the reason why we add to this volume a Jexicon 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 multiplied the phonetics (as above stated), impelled the use sometimes, as a radieal, of a compound, instead of a simple character. Item, an 4nverted character was used instead of the straight form,
etc. For example fy for [, & or JE or +f for 3 , f for iD, BE for M, ZB tor F.
Introductory. — Important Notices. 17
2. Phonetic-Radicals. — Insome ancient characters, an element which is radical gives also its sownd to the compound, being thus together radical and phonetic. For ex. YR BR IK BA 2.7 op AQLit. Hk ping ice, from 3X shui water, from 2 ping to freeze; J ping is thus both radical and phonetic, Those chara- clers are like a link between the logical aggregates and the phonetic complexes.
%. Radical or phonetic redundancies. — 1. The ancient characters were relatively simple. When the systematic classifications begun to be made, then without change in the meaning of those characters, a meaning element was su- per-added to many of them. This was a new radical, well chosen, but useless, un- der which the character was classified in the new dictionaries. Thus, to #. chiao, to teach, which nicely figured the action 3 of the master descending upon the disciple, % a hand was added, holding 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, nearly all, synonym compounds, and it is the compound that is ‘used now, While the primitive character remains in the dictionaries with the mention 7 A ku-wén, ancient form. This is why one may often read in the Lessons the words « it is now wrillen. » For ex., GE, now fe; the ancient form was enriched wilh the radical 77, the rest being quite the same. — 2, The ancient drafts, or symbols, or logical aggregates, had no pho- netic element, and nothing helped the memory to remember the sound. Later on, specially in the time of Li-sst, a phonetic element was added to some ancient characters, without changing anything in the sense. For ex., to the character jj kui, was added £2 tui, to recall the sound ui, which gave gi. Those embellished logical aggregates differ from the phonetic complexes in this, that they cannot be a- dequately decomposed into two elements, one being a radical, the other a pho- netic... Another example: WU ch’u was added with the phonetic je hu, which gave J& ch’u... Now |i and Mu are no longer used. They are found in the dictio- naries, with the mention #4 Bl ku-wén, ancient forms of fy} and 4E.
4. Phonetics and Radicals contracted. — See the phonetic Series 469, FiS {i He, elc. It seems to come from 1 hsin, but it ends in ao. Its phonetic is not hsin, but bei 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, tf is contracted, that is: its K is suppressed, and in ils place the radical of the complex is substituted. It the series 469, nao con- tracted is the phonetic, A tei 44 yg. — The same happeus in the series 119, un- der $ ch’u, where one may find compounds in ieh. Their phonetic is dil chieh contracted, in which Jy gave place to another radical. — Remember well this re- mark, it is very important in practice. One may often read, in the Lessons, the expression 43 3 «contracted phonetic.» — In the logical combinations some radicals are abbreviated in the same way: Thus f~ becomes FF or Ft. See FF and a3, L. 44 EJ. — The scribes definitively contracted several intricate ancient forms, for example: é
48 Introductory, — Classification of Characters.
pete Gate SAR
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 wri- tes 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 fi rm and in sound, but perfectly synonymous, is explained by the fact that they sprung from many different places, in the modern times, after Li-ssi. Some double logical aggregates probably owe their origin to the same cause, v.g. {© p= mW a a 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 ZX trees make a Hf forest. Two JK fires #8 means to blaze. Three J, men A, a multitude. Three Hf chariots #&, a rolling, a big rumbling.
8. Figures straightened. — Certain figures, broader than high, as mM, are of- ten straightened — in the compounds, to take less place, See -E L. 82 C, Sf L. 66, Hi L. 167, L 158, ete.
Conclusion. — The knowledge of the Chinese characters consists in mastering less than 300 primitives, and about 1500 principal compounds made with the pri- mitives, that is less than 2000 characters. All 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 ag- gregates under their principal primitive. Each paragraph refers to the phonetical series which contains the phonetic complexes derived trom the same element. The paragraph and the series form a whole, that 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 48 # lei-shu. The prototype of those compilations is the fff 4f€ Erh-ya, the first sketch of which is ascribed to iN Chu-kung (44th century B.C.). Remodelled in the 5th century B.C. by a disciple of Confucius, $f $§ Tzi-hsia, it took its actual shape from 2h BE Kuo-p’n, circa
Introductory. — Classification of Characters. 19
A.D. 280. The things of this world were distributed under 43 sections: kindred, houses, utensils, music, heaven, earth, mounds, hills, waters, plants, trees, insects, fishes, birds, wild and domestic animals. In the actual ##] ZF lei-shu, the hea- dings are more numerous.
2. Logical classification, by Radicals. — Starting from the meaning element of the phonetic complexes, or from oneamong 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-wén 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 A Ming, the number 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 fe FR = wh, 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 py 7 Ef) S: GR Commercial Press of Shang-hai has printed a very good FR =F tL abbreviated K’ang-hsi.
3. Phonetic classification, by Rhymes. — Towards the year A. D. 500, He # Shén-yao introduced the system fg 49 fan-ch’ieh, which consists in associating, for the expression of a sound of any unknown character, two other known cha- racters, 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 lo; 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 #8 ff yun-fu were made. In the beginning, they were nearly dictionaries by sounds, the finals being very numerous: under the HE 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 én, in, tin, un, are mingled; an, wan, ien, form a same category, etc. —The #§ }ff yan-fu have all five vulumens, one for each tone. To find a character, one must know first its tone, thea its prosodical catego- ry; lastly one must seek in the latter, following the order of initials. The largest Chinese dictionary, the fm “@ ff P’ei-wen-yin-fu, was composed after this type. We join here the usual table of rhymes.
20 Introductory. — Classification of Characters.
Table of Rhymes.
ie ae
A iE
HW) H) iB B Ke jet Rp Ung. iR U, ii, it, etc. TE i FR RE lang. g Ee BB vote The PAL) Ee He Ei. ji G& = m@ 6 wl hei, i, 6, ete, a a: a a ¢ & we I | f #& Ai, uai, yeh. By yo, jaik mw OM ha Ei, uei. EBE A, ia. py ain, 4 fh, ieh, iieh. Be | Wy fe] Hi ctidiee to. 3 Iao, ieh, 0, uo, ao. Te | uj i | = = otk An, uan, yen, 3 Ai, ei, 6, i,ieh, we Ge val ie ih, 0, uo, i. hee : I, ih Bil a| Ao, iao. ye i a Be!) ge a aia, 0,00. me a i B; 0: Sh My iG A, ai, ya, ua. a Ich, yeh, iB SE ie Ang, iang, uang. r é nl al | y ( { ( | Eng ing, iung.
a) yi Tu, ou.
abe HS fin, in, un
gee ll
An, ien.
Zea wS Eee
Introductory. -—— Classification of Characters. |
4, Phonetic classification, by sounds. — Basing himself upon the system KW fan-ch’ieh, a certain $F f#@ fg Fan t’éng-féng invented, towards the year 1700, a combination of 20 initials and 42 finals, that is nearly as easy as the European alphabetical order though it does not attain it, for sounds like i, ih, ii, ei, are still confounded. Instead of being capital, the division by tones is accessory. This Classification is far more convenient than the dictionaries by rhymes. Therefore the F. F7 3G Wu-fang-yian-yin was a great success. It was the most com- mon dictionary in the days ot the #f Ch'ing dynasty. Its key is thus given:
Initials Finals ARP ; Ai Sh J ien, an, uan. Hy P’ H J A. én, in, unn, iin, 7 M By Ch AE ung, ing, éng, iung. Jal, F #4 Ch’ 26 an, iang, uang. =}+T * Hs 4F iu, ou. So BY 3% ao, iao. BRN & kK Ae u. EL fe EE uo, iao, o. ff Gh KH BE 6, ich, iieh. Hs Ch’ E W Beta. jay a.
Hf ai, uai.
ti, i, ei, ui, ih, érh, i, id.
5. The 22 2% 92 fH Tzit-hsiao-chii-yii that will be occasionally mentioned in the Lessons, is a small book 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. It contains some mistakes.
B. European classifications.
1. By radicals. The dictionary by vadicals of K’ang-hsi was translated, abridged or enlarged, a figuration replacing the original fg 4 fan-ch’ieh. Hor ex., the « Dictionnaire classique de la langue chinoise, du P.S. Gouvreur Sis. 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 phone series. The type of the kindis the «Systena phon2ticum scrip'urae sinicae, auctore J.-M. Callery, 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 hig English dictionaries of Williams and Giles, and the big «Dictionnaire chinois-frangais du P.S. Couvreur 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 di- ctionary 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 inthe study of Chinese.
ETYMOLOGICAL LESSONS.
LIST OF THE 224 PRIMITIVES.
Modern form. The ancient form may be found at the number given.
3
3 £3) Ch’iao’. 58.
Chiu?. oS.
Chiu!. DA. Chiung’. 34. Ch’a'. 38. Ch’uei?. 13. Fang}. Olle Han*. 55. Han‘. 59.
~OSPSTYpOS
24
HOSHE AAV SRS SrNRFPOAWSE
3
Ch’é4, Thos Chi’. 68. Chi', 70. Chi’. 84. Chi?. 14. Chih®. Bt. Chih‘. 63. Chin!, aD: Chiu’. 34. Chung!. ie Fan’. vali Hsi'. 64. Hsin’, 11.
If,
GOWSHASREVEWS Fos
a
Kung}, 87. Liang?. 35:5 Mien®. 35:
1
Chit, YR,
Ch’iang?.
127.
List of the Primitives.
#
SURG SIeRA
& gf
L
NIESHALO
Chieh*. Chile Ch’ien’. 99. Chih*. 442, Chin'. 128. Ching’. 145.
Ch’iian?.
134,
Chung!.
409. Fang!. 447. Féng!. 97. Hut. 68.
Hi mWH SPSS SEA
STS Pas
Ch’ai’, 156. Chia®. A452. Ch’ieh?. 20. Ch’ing!. 55, Chu‘, Die
Fut.
Bi.
ra
J
cal
ERMA BRAUER RSSATS
AASRE REHAB RRE ESOS
List of the Primitives. 25
a) Shu’. Shou’,
ke 124. B 160. 9 44 6 Tien‘. Tie,
W 4. Be 87. Ch’ao!. Ch’ing* wow, A Bh A le oi re Ae Es ay. 103. AA Chiu’. Niao® “a Yen3. aE 170, &B 138. Lc ifs 417. 8 eis Chuan! a5 A ree nthe: Ti 164. ug nat: 7) = 113 i na Ch’iian?. ar na
cae EA tie. 66. e Chint, 79> ! xt Yi, Ch’. FB. ie é!, o> pee Ae Fei'. fi, 149: 5. ae x Chot. e ¥ Erh3. Fa Chiao’. ee] 43. Ea a 12.& 146. 142, Chui!. 105. Erh?. x Chih‘, AE 168. i aah nig, chi’. 164. 166. Feil. AI AN. : gi {74. Fao’, Es Chiung’. JE 170. o Tang Ay Chiao”. 130 42, Ful. 10%. Ey 176. Fu‘. He Ch’uan‘, a=s 86. ES, Ch’ih’, 40. 153. my ot. sha Ts Hsi! a Ch’uang!. LBS Ai Huan!, Al. AQ), <e Li! =F Ko?. i 106. Hsia' P. SND) 163. ed 1s. Kuil. Et. pa 82. P’éng?. ra Kout. hs, 108. Hsiné Hil K'uai® AW Bh. ‘04. wee Lung’. AO. 156, Tut, Ee Ma’, HE. 140. Hu! i a KH 106. ond 137. 3 Min®, 135. 90. Tzi!. Sst. HE 108. Huil. et Pan'! 150. wey 136. = Shou!, 110, 104 wy Tsao’. PR 144. I, = Pei! 102. Shu’. 16. A~%» 161. Fay 54. Jou. Pien* Shu’. 65. Ik 123 xt 139. Kua? pes Shén! ais Yao‘. 118. 148. 88. Mi3. RK Shih? ae Yen‘, 122. 69, al 141,
4
26 Etymogical Lessons. 4, LESSON 11.
About the primitive —, a single stroke.
I' represents the unity, principle of numeration; B A |) (a aL Bk 2% #4, It figures the primordial unity, source ofall beings; TE #0 ac #4. 34 ae WS —. HE Jp OK he tk BW - baw 2 RU. —It
is the 1st radieal in K’ang-hsi’s dictionary.
In composition, says the Shuo-wén, — is most commonly symbolic; Bm
7. oH HF, Its different symbolic meanings may be summed up under four principal categories.
_————
Firstly, when written on top of the compound, —« represents either heaven, or a roof, or.any cover. Example:
YVii®. The rain. Drops of water falling froma j J cloud
Bu 59] FE 5 that hangs lo — heaven; J means the vertical falling; — (& KG BR EE bh, — It is the 178th radical in K'ang-hsi,
— Tien’. Heaven, the vast — extent of space that is C aes f above FE men, the highest of things; Kw, FE mI LMa HKG RRAMALEKE A Lm) & GL 2. $F BH, Note that Je (Li 60) means man and not great; therefore do not translate — K the unique great. The derived idea, as explai- ned by all the commentators, is that of physical or moral superiority. The 4 #K Ch'un-ch’iw says: ae Z2eERMLERBT BAF BKK SF — K LY Be 2 Ah. Placed above them, heaven g0- ‘verns men... According to this fundamental notion, ‘aby superior, says | the §@§ J Erh-ya, is the J of his interior; RE DB AERA RK ws BFR, =E KR. AHA Ke — For the compounds of FR, see Lesson 60 C.
Mo*. The outmost twigs, the — top of a AR tree; 7 D RR Bo OKA AL — EH LHe W, — Phonetic
series 138,
Etymological Lessons. 4. 27
=
Secondly, placed below the compound, — represents the foundation, the base, or any support. Examples :
Tan‘. The dawn, the beginning of the day. The 3 |
E YY (-) Sun above a — line, viz. the horizon; OR lL BA 3 |
earaentzy Racine, =) = Lo i Oa — Phonetic series 162.
F Y Li‘. To stand, to be erected. A man Je (L. 60) stand- AV ing upon —= the ground. This character is the reverse
of F, above MA w-FEMRAA
i, — J a. FH BA It forms the 447th radical in
K’ang-hsi. Phonetic series 134.
Pén’. The trunk ofa tree. The part of a ZX tree AB above the — earth. This character is the reverse of “3K, aboveD ALF AR MAH HY.
3 — Phonetic series 447.
Thirdly, — represents a barrier, a hindrance. Examples:
A AS Shuant. A beam — used to bolt-a PY door.
Ciao’. Difficulty in breathing, oppression, 4 5 se Ht BK RF RA UB. is Se. The line bent up represents the breath that tries to
go out, but is checked by the transversal barrier. See L. 58. — Phonetic series 3.
Fourthly, — represents something contained. Example:
i Hstieb?, Blood. A Tl vase containing — something.
J Ron ) \ This character primitively meant the oblation of the blood of the victim in the sacrifices; AA Pl. — 8
HSS Pt 8 PE ii W, See the Gy 48, Legge’s edi-
tion, Part Il, Bk VI, Ode V1,5, Fy # fi MS ft
LI 4 Fe ah, The modern signification, blood, is a
derivative, chuan-chu. See Lesson 157. — It forms the 443th radical in K’ang-hsi. — Phonetic series 208.
98 Etymological Lessons. 2. LESSON 2.
About the character ~~, two strokes, and some of its derivatives. <> ie Erh‘. Two. The number of the earth, because it A <gey cae, makes the pair with heaven. The number of the two principles yin and yang. Hl ~ Be wh [Ee Eo B& 4H. — It is the 7th radical in K’ang-bsi.
In composition, =~ has three different uses.
Firstly, = means two. Example:
ius oa Jén?. The fundamental virtue of Confucianism, which Ape i the Shuo-wén defines: 4 ULAR AAA. 4G st f{-, to love each other. The benevolence that must link each | man with = his neighbour; = J = two, mutual, reciprocal. From {— is derived C 4K Ning‘. Coaxing, flattery; ¥5 #3 Ah; the f- of z&
women.
Secondly, — represents two terms, two extremes. Examples:
Chi’. Activity, working up of faculties, struggle for D , u S life. A J. man who acts, who struggles, with his J
mouth and_ his 5 hand, between ~~ heaven and earth, togain his point; KA AV AA OLA 4, @ &. KK be H.. ASK i, Fo
We (E ie JR AR BE ab, — Phonetic series 325. % Kén! or Kéng}. Idea of passage, of crossing, of It ? # duration,between two terms. Itrepresents a Si} passage- boat, that crosses “= from one bank to the other: AA
[KH SR RIG SOMAET EB di. See fff L. 66. —In the modern writing, & (1.. 76 H) is often used for Fy., ll is a mistake. Note
the compound F
17 My liéng,. Constancy, perseverance. The heart 4 (the _ Will) crossing from the beginning till the end, as a Sy:
Pe 4
Hboat does from one bank to the other; the moral trip
—
continued till one reaches the harbour. Rather a well found simile, jay, uy aly. ee a te PF -. GB (bl St He ot the
Etymological Lessons, 2. 3. 29
G Thirdly, = is an old form of | shang‘, high; and = reversed,an old
form of “F hsia‘, low. See L.5.— This remark is to be remembered; there will be
many applications of it. See, for instance, a ASD, a LE, 29 Hy ete.... F is ‘ sometimes reduced to a single stroke, as in HE L. 43 N, H& L. 50 O, ete.
. LESSON 3.
About =, three strokes, and its derivatives. j
San’. Three; F ti A 2 Be 4. The number of heaven earth and humanity; the = oF san! ts’ai2, three Powers. Hence
Wang’. King GF 2SHAA EL #Hwh HH PCE HARM AH HB BZ a. fw. ff A. - BR = BE. According to the ancients, the =F king is | the one, the man who connects together = heaven earth and humani- ty. See L. 838 C. — Phonetic series 87.
A
~ ~ose BF
Hi 1
Lit
represents boundary lines, limits, in a4 Gs Chiang’ Bounds. The = partitions that divide é @ K=>) and limit two [f fields; AA ER, SHR BH,
Phonetie series 724.
a
straightened )}(, forms a partof
ei = Shih*. Influx coming from heaven, auspicious or D TN } ( inauspicious signs, by which the will of heaven is known to mankind; FR we (H. 2 HM. A Ll a J\ 4%, The two horizontal lines = are the old form
F of the character [- shang‘, high, superior (L. 2 G),;
here they mean heaven; =, GW E The three
vertical lines )]( represent what is hanging from hea-
ven, viz. the sun, the moon and the stars, the muta-
tions of which reveal to men the transcendent things; = a, A A uh, Bi eM Le Ae i ays Tf Bf 40 The actual meaning, to teach, is chuan- chu. — 7 forms the 113th radical of characters relating to transcendental mat- ters. Note A, its modern contracted form, that is easily mistaken for #%, the
contracted form of # garments (L. 16 A).
30 Etymological Lessons. 3. 4.
= Ep Sara we doubled forms A hstian‘. It is believed that this
is DI character figures the primitive abacus, and has no-
F LY thing to do with 73. See Sf and 36, L. 47 G, F. Any- vj. how from jpp is derived the phonetic compound
hsiian‘, garlic.
LESSON 4. ;
About the w dot.
8 Chu. A dot, a sign of punctuation, etc. Formerly the dot was round; it is now piriform, on account of i 4 4 the writing-brush that writes thus. It is the éd radical
in K ’ang-hsi.
» is found in the following characters:
r) Chu’. The inferior part represents a lamp, the flame
B ez. ae of which is »: Ee FR Ue, » (# 2K. One writes now JE to mean a lamp, the character = signifying
(chuan-chu) prince, master. Because, say the inter-
preters, FF Oi HE Wy, 85 B Bp A 2 HH the prince
rises above the multitude and is seen by all, as the
flame rises aud shines over the lamp. — Phonetic series 115.
Tan’. Cinnabar. The ~ is supposed to represent the G jt A red mineral, and $f the mine where it is found; FR ” — SFR SE. YR FF OIE, The ancient characters suggest
a different interpretation. They represent the crucible
lef of the Taoist alchimists, with ~ cinnabar in it. De- compose and recompose cinnabar, was their chief prac-
tice, See L 415 D. — Phonetic Series 83. Compare 4
¢ (L414 T.)—Two old characters express the K (L.30D) transformation of mortal men into immortal genii,
by means of #f alchemy and fy divination (L. 56 A.)
D N.B. —In the modern writing, many characters, for instance >. K = oF are surmounted with a dot, that replaces elements which are very different in the an- cient writing. It is the same with the dot introduced inside some of the charac- ters, for example fj, ay af. The writing-brush is the cause of it. — Note by the
way that 2 the 8th radical, is but a corruption of A. the 11th radical,
vi
Etymological Lessons. 5. 6. 3 LESSON 5.
We saw (L. 4, 4° ond 2°) — used as meaning an horizontal line. From this accep- tion are derived the following characters;
~~ ® ; Shang’. Up, upon, superior, to mount. A sign | placed above the fundamental line —, signifying
A - ME above the level; KA —,AA | PROG Sl im EE th
4h 3, The ancient form of this character was -=
i (L. 2G), the smaller top line being usep as a sign
relatively to the longer bottom line. In the more
recent forms, the sign became more and more intricate. — [au the modern wri-
ting, [ kept up its ancient form _[, al the top of many characters, for example,
JE RY BE. It is to he distinguished from --, the fictitious 8th radical in K’ang-hsi. (See L. 4D).
Hsia‘. Below, to descend, inferior. A line | traced
we below the fundamental line —, signifving below the
B T level; AAI — & Pd Bf, — The ancient form
of this character was =- (L. 2G), the shorter bottom
iz line being used as a sign relatively to the longer top
line.
LESSON 6.
About two primitives, [ and J .
Firstly, [ kun’.
Kun. A vertical stroke, a perpendicular; -— VT 3
A | ALe +H BB, — It forms the 2d radical in K’ang-hsi. It is found in many characters, in which it has gene- rally a symbolic signification.
It represents the trunk, in ) Mut. Tree. See L. 119 A. E J It represents a man standing, in Shén!. To gird up (with both hands). See L. 50 C,
It represents an. arow fixed in a target, in | Chung‘. Middle, centre. L. 109 A.
‘a2 Etymological Lessons. 6. 7.
It represents a spindle running through two objects, in 8 % Ch’uan‘. To string together. See L 153 B,
It represents a bow-string, in 5| S| Yin’, to draw a bow; See L. 87 A. Etc,
Secondly, J chiteh?. Chiieh?. A crooked stroke, ahook; {i} 4h {ff JE.— ] Jf It is the fictitious 6th radical in K’ang-hsi. The Shuo-wen gives no derivatives from this primitive.
B
However, in the modern characters, J occurs very frequently. The reason of the fact is that, with the writing-brush, it is easier totrace J than | . Consequently:
4. J replaced | in many characters, for example:
eS Ic Hsiao®. See L. 18 H.
2 J is arbitrarily written, as an abbreviation of different figures, for example, for ‘the longer line of 3
i > Ts’unt. See L. 45 B.
— inverted gives
a aye: Vl SE ee A hook, @} a. AA FO J. that is found hw) . ; Yiieh?. A halberd with a hook: See L 71 L.
LESSON 7.
About the primitive J.
a P’ieh!. An oblique line from righ to left; #q je , 4, (%, General idea of action, of motion. — It is the fictitious 4th radical in K’ang-hsi. Nearly all the mo- dern J are abbreviations for other signs, while the
true J are hardly recognized in the modern Writing. For example:
aH
i
J inverted gives
Be oN
J and \ combined, give
cae About the primiti A tL
\
J inverted gives
ee a
6 =) f
ye-J..
r A
Ey
zt 2
Etymological Lessons. 7. 8.
33
Shéng!'. The tenth part of a bushel. Composed of =} bushel, and of J which figures that a tenth part of it is taken out. See L. 98 B. Mei?. Eye-brow; J represents the curve of the orbita; the lines on the top represent the hairs;
is the eye. — Phonetic series 463.
Fa’, an oblique line from left to right. 4 R th BA mJ.48 Hi. This stroke that seldom occurs in the
ancient writing, is now frequently used as an abbrevia- tion.
1. To cut down with scissors, to mow. See L. 39 B.
LESSON 8.
I‘. To draw, to drag; (8, §] & FE, Forms several compounds, for ex.
I‘. A crooked arrow, a dart, kept by a thread, to kill birds. In the modern writing, the hook was changed into a point; and J” that represents the thread or the action of drawing the arrow back, became —. It forms the 56th radical in K’ang-hsi.
1“. To draw. See L. 50 F. — Phonetic series 243.
The same in jf ti#, L. 135 G. — in BE pa®, L. 134 A. — in # hsi!, L. 92 B. — In 3¥ chéng!, L. 49 D, whe- re J became J in the modern writing.
Iy. To drag; AA Fe J. $8 &F, Is found in
YVii2. To drag, to trail. See L. 50 G.
34
About the primitives Z, i!
PPG Ae RS HR HR
Etymological Lessons. 9. 40.
LESSON 9.
and 7, ya?.
I’. Germination; it represents the germ that strives to get out; 42 7% Ah i Hi We. &H JE} Hence, general notion of movement, of effort. Cyclical charac- ter. To be distinguished from B; @& HG 7, HF, XE 4F Gi, — Itis the 5th radical. Among its derivati- ves, note @L L. 90 B, f% L. 129 A, and
Shih‘. To let Z, slip from the = hand, to lose. See L. 48 B. — Phonetic series 155.
Sg
Ya?. Swallow, i d%. It represents the jerking flying of this bird, 4& 2 JB. To be distinguished from A; fS FA OZ} Hil, — Phonetic series 1. Logical aggregates, 4, PL, L. 94 A, B, etc. The modern wri-
ting is
Ya? Swallow, the jerking bird. See L. 138.
Note: The scribes often write {, as an abbreviation of intricate compounds. In that case, it is neither i! nor ya*, but a conventional sign. For instance, il. for
ya, ete.
LESSON 40.
About the primitive |_ and its two important compounds, EL. and |A, with their series; then about the derivatives Ff J&. i, a group apart.
pte ats:
Yin’. Curve; to cover, to conceal; Hh dh. RoE ik zB.
First series: (_ combined with — (L. 1), gives
a S
Hsi*. Chest, trunk, box; AL. 44 — BSS
, Therefore — represents the cover, L_ the chest or the action of containing, —Itis the 23th radical. — Note the next derivatives:
po te
Es
Etymological Lessons. 0. 35
Lou, Shut up, in a confined space; IKE MR, @ 3. As Win aL chest. It forms the cempound Kid, mean, ugly; perbaps (Bi cave-dwelling {§ moun- taineers (L. 86 A). — As the engravers often take off apart of [_,to make room for [§, this character might seem to be derived from pa .(L. 44 A), which it is not.
Ni‘. To hide, to abscond; JA LL, MA #, @ RH — J (LL. 46 G) meaning to collect, to gather, the ag- gregate means, to gather and 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. 5! A, and the Lexicon by
order of Radicals.
Second series: L, combined with A (L. 15), gives
E
ry
4
Wang’. Primitive meaning, to hide; BAA L, 4% %%, Now A meaning to enter, [A means to en-
’ ter into a hiding place. Derived meanings, to die, to
perish, to vanish. — Phonetic series 35,
Chat. KM A, KH —, 4 , It is (A, plus ~. But the line — representing an obstacle, asin F (L. 4, 1), the meaning of cha is, lo try to hide one’s self and to be hindered. Hence the modern meanings chuan-chu, suddenly, unexpectedly. — Phonetic series 102. See L.
37 G. Kai‘. To beg, a beggar; MA A, RW, 8 RB, A
wandering JAY man, who [A seeks a refuge ina foreign country, begging alms for his livelihood; A 3b A.# E& BS tte UW 4. See 77 L. 54 A. In the old form, J, and [A, were in juxtaposition; then J co- vered [A.. Note the fanciful modern contractions of this character. — It formsanimportant compound 3. See L. 73 A.
36 ' Etymological Lessons. 40
ots Sang!'. BR 58, KA A, @ Fee Etymologically, 3 H ae wey lo weep over the [A dead; fnnerals. This compound kc is a typical picture of the Chinese thing which it me- ans: to howl with several [J mouths, as —K dogs do, over a [A dead person. Meanings chuan-chu, to die, to destroy. Note the contraction of the lower part of the modern character.
Wu? Bh KAA ALAA th, @ HE, A multitude ff I AW 7 (L 24H) of Fg men, acting upon a pk forest, felling
the trees, clearing of wood a tract of land. In the old
j form J, JA stated that the wood had vanished. Hence U chuan-chu the general abstract notions of vanishing, defect, want, negation. — Phonetic series 718.
Note. The study of this second series, EF G H1J, 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 J eye (L. 158), gives the interesting following compounds :
Chih?. Perfectly right, not curved in the Teast ; Bh
K a ie iL. MAH. AK BY & 3. The eyes having looked : at something, did not discover any deviation. — Pho-
netic series 335. — Note the right way of writing this
character. The modern’engravers cut L_, so thatone
may believe itsis composed of two strokes J. The scri-
hes often change itinto a single horizontal line #¥, etc .
L 1S] 5 Chén‘. Perfectly true; AA FR, AA TC, #F FR: So- le =) mething having been exposed on a pedestal, Hi siten
eyes could not find any fault in it... The — of the pe-
destal was mingled with the lower part of L_. — Perfect genuineness of nature
being th: characteristic of the Taoist ~ J. Genii, the scope at which the Taoist
transformation % (L. 30 D) of man aims, the Taoists replaced -* by K at the
top of chén{(contraction). KR YA FAA TC, SF 3. The calligraphic remarks made about i=t are to be made here also. — Phonetic series 509.
Etymological Lessons. 40. 44. 37
‘a a rey Te® BR EAR WS, # &. The #& rectitude of the ne aS
Wy heart. In modern writing, the E{ was bent down to gain room (L. 158 A), the L_ is often reduced to a small horizontal stroke. — It forms the compound
Ak f@ te?, moral 4 conduct (L. 63 A) directed by a aur righteous heart, righteousness, virtue. — Another
compound is
of the heart @ heart of a <E disciple (L. 81 O) oran auditor, by his FD 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’ing'. From j~ shelter and ¥& to hear. An open jie hall, used for meetings, teaching, official proclama- tions (L. 59 J).
ae ie Ting!. BR FA RE EH. Rectification
Note: i Hsiao! has nothing in common with this series, 77 AY See LL. 12 N, and 160 A.
Lesson 144.
about Fl, A, AL, three series perfectly distinct in the ancient writing, but mingled together in the modern writing.
First series: JU hsin!. Before studying this primitive, one must explain
’ Fei’. To fly. A primitive. It represents a crane (very A fhe common in China) seen from behind. Upwards, the head and the neck bent up, as when the cranes are
flying. Below, the tail. On both sides, the wipgs fluttering. The smail strokes represent the quills se-
parated when the bird is flying. BAY Wofiote B % FG, — lt is the 183th radical in K’ang-hsi. That being granted, one may now explain
Hsiin‘. To hover. A primitive. Compare with A. The
B FL ates erane is hovering; its wings do not flutter. The feathers being close together, are not visible; Be #8 UL FA Fe
io WH ds B, — Phonetic series 20, Note the
compound
Etymological Lessons. 414.
Shiht. Formerly, it meant the mosquito, the hove- ring FU insect, forming heh swarms, that bites men; 13 A. #& ,. Now this character means a louse. Note its abbreviated form {| that it commonly called 22 Jal pant féng!, half Ja wind. However Jai (L. 21 B) has no- thing in common with FU. See also il hsi!, below G.
Second series: A Chi‘. Is derived from the primitive
sty FR
© FL WD HA
FA, PR Jak
ep)
Inverted, #{ forms
Pious 2 Sk
Chi*. To catch. This primitive is found only in one compound, with ¥ the hand (L. 48), which gives
Chi*. To do, to hold. It represents the hand doing or keeping something; (#, A Py ye AL... FU forms important compounds in which it is nearly always wrongly shaped. The scribes write FU, (as above B), or AL (as below J), or A, (L. 21 ), etc. See By shu2, L. 75 E; Hf it, L. 79 K; af chih?, L. 102 G; HR 10%, L. 74 B; ete.
K’ung?®. To do a work JT (L. 82 A), by pressing or knocking; fm FA, AA RL. TL By, Notice the com- pounds #4 k’ung*, pulsations of the j%) heart, fear; and 2@ chu?, to build a clay-wall by battering mud betwen ZC boards and A*® mats. — Phonetic series 226, under its modern form,
Hsti. The end of the night, before dawn; the time for oblations and sacrifices; BA WA AL & ROG iy By a. Lit. To present one’s self before dawn, when it is still 47 night, while #{, holding one’s offering for sacrifice. —In the modern form, J, mutilated covers AJ. Compare with ji feng! derived from fl, fan?,L. 21 B.
Chii2. To seize, to hold; # Wo KR Aolit BH.
This ancient form is no longer nsed and was replaced
by 45.
Etymological Lessons. 44. 42. 39
Both combined form
y Tout. To seize each other, to fight; BR FAL JE 4H 4h oF Hi. —It is the 194th radical in K’ang-hsi, not lo be confounded with PY the 169th radical.
Sa ee e
Third series: /), wan?.
Jj Wan2?. A pill, anything round. Often used for the A, (A preceding F. It is J, chai* inverted (L.59 E). — The derivatives of fj, (phonetic series 34) are to be distin-
guished from those of Wi; (L. 21; phonetic series 19). ' It is sometimes difficult to make the distinction.
LESSON 12.
This lesson contains three series, ¢ , «{, (&, and an appendix.
First series: ¢ chian’. Chitian®. Small water course, rivulet; Ie ay He th, A { {G FEA primitive. Forms some important compounds,
as:
) ) Shui’. Water, small river; (& FB, The four strokes B mr » added to the rivulet represent the waves of the water.
See L. 125. — It is the 85th radical in K’ang-hsi.
) Yu', Primitive meaning, to sounda ford. A man
" Re Xe { crossing ¢ water, holding withthe 3} handa fy stick (& L. 43D), sounding the river with a stick;
{ BAB (AR Xf OE Au ancient form is
(\( simply composed of 7 water and 3¢ to sound. —
Chuan-chu the place where one is going. Often used chia-chieh as a relative pronoun. — Phonetic series 318, in which the radical is placed under a Ve 08 1% f@, etc. In these compounds. 4 may be easily taken for the radical; in reality 4 is but a part of the phonetic. The small stroke at the right of { is whal remains of ¢ in the modern writing. — Note that { has no relation with this character; itis an arbitrary abbreviation of ff pi‘, pei* (L. 54
G).
40 Etymological Lessons. 42.
Second series: {¢ kuai!. It is ¢ doubled,
Mi oR FE, This character, now obsolete, was replaced by j.— Forms some compounds, for instance
v| ay Lin’. A torrent (L. 126 D).
AR Yii2. A boat (L. 14 F).
Note that engravers substitute for {{ the character i], easier to be engraved. But }J being also an abbreviation for JJ, the 18th radical, this double employ of
Kuai‘. A river, a stream larger than {. 9K KK
the same sign brings confusion.
Third series: (4 ch'uan'. It is ¢ repeated thrice.
Ch’uan!, A river, a big stream formed by the junc- E Uy 1) tion of several others; { {{ @ vk & BK abe
Note the differences in the modern writing. — It is the N 47th radical. Phonetic series 18. Note the following ; compounds:
Mu
© 8
Lieh*. Bubbles; JA Jil, i, The phonetic is not AJ hsi‘ (the 36th radical), as the modern character might suggest; itis Ay tai? (the 78th radical) contrac- ted. It forms the important compound &ij lieh* (L. 52D).
Yung!. Moats. BR (, A &. & Be, I He ae, In the wriling ta-chuan, instead of fe i‘, city (L. 74 C), there was &, representing circumvallations (L. 90 G); KA. Ge & JE. — It forms the compound
oP) (we 2 TE
Ooz JU
Yung’. Wagtail; the 4 bird that likes the sides of moats $§. This character is the important phonetic 769, under its modern céntracted form YE (4 =F GR fF HE), > takes the place of (%, and ¥ of g. See L. 74 C, and the series #f hsiang1, L. 26 M,
Sdoz BP
a =
= — =
oA”
Etymological Lessons. 42. MA
Ching!. The underground water courses, so impor-
tant in the Chinese geomancy Jal 7X féng-shui. Je J dhs Bh K 77 a Pe @ ge Hit Lh, ae ge, The currents of water (4 that flow under — the surface of the ground (L. 4.14). The phonetic is not 7 kung! (L. 82), as the modern character might induce one to believe, it is -—E ting? (L. 81 D). The primitive meaning was perhaps =— to examine the underground veins. == Phonetic series 262.
Tsai‘. Actual meaning chuan-chu, calamity, misfor- tune; 3 4h. Primitive sense, BA ({, — 36 2, 3 Hf, A river ({ barred — (L. 1, 3), which causes the calamity of inundation. The character now used to mean calamity, is the compound ff, that represents
indifferently either a flood (44 water), ora fire ORK fire). Note moreover the next compound:
WwW Tzti'. Grounds fH uncultivated,
po FID exposed to 4% floods; A #
#,, One writes now #. — The
character f22] tzi4 must be carefully distinguished
from {fj tai! (L. 150) that forms the phonetic series
406. The two have no connection whatever. — The
engravers often cut (4, instead of 4, because it is easier; hence the confusion of series.
Huang). Devastation, [A ravage caused by the JIf rivers; Jt fag Ui,. See L. 10 E. -- It forms.
Huang. Wild, barren, drought,
, Wy a consequence of inundations for : a +4 the plants. Phonetic series 536. K’an:. Incorruptible uprightness, inflexible rigidity of principles; fi} HH BAN RH AS BR. Bio X fe FF Be Fidelity (4m, an ancient
form of f%) to one’s principles, constant as the phy current of a river. See L. 25 H.
Chou! .Main lands inhabitable (iles or continents), surrounded by waters. The lands are represented by three points in the modern writing, and by three
rounds in the old writing. This character was composed of two (% superposed. 7I¢
Hae ANA BN 3 — Phonetic series 187.
42 Etymological Lessons. 2. 413.
Appendix: In all the following characters, (4 is not ch’uan, but it represents the hair. Nevertheless they are nearly all classified under the 47th radicat.
See L. 60 B.
Tzu’. Different writing of , achild born with hair. See L. 94 A.
3 way T’a?. The last inverted. Primitive sense, partus ce- le v a phalicus, the hairy head coming first. See L. 94 F. UW 4 Shou?. A hairy head. See L. 160 A.
Hsiao’. The last inverted. Head of a criminal hung up, as a lesson; the hair hangs down. See LL. 160 A, 419 K.
Mr Ch’ao?. A bird’s nest upon a tree, the bird covering 3 2 ity BR t£ Aeleel HBA A 0 (KE JE. The £7 at the top of AL a tree is the nest (a primitive, and not both
$f hands (L. 50, A); (4 represents the feathers of the bird brooding on the nest. Note that this character has nothing in common with 44 kuo® (L. 1:0 F), though the engravers always cut itin that way. — Phonetic series 594,
LESSON 13.
About the primitive
A
Ch’ui?. An object suspended, a pendant; with its A multiples AA A AA.
First series: A doubled Af. It is found in
. Shan’. % 3 UM AA Wi ete A thief bringing under his arms stolen things (4 a
man, L. 60:A). It forms the compound Shén®, the name of the Proviace of fi PE Shén-si.
ae
Etymological Lessons. 43. 43
Lai?) AA represents bearded ears of corn hanging down, AA [§.# 48 2 Fe; 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 JY Dynasty. This character now means chia-chieh to come, the contrary of 3 to go.— Phonetic series 374. Note the following derivatives:
Als Mai‘. It is composed of 3% and 2 of AQ (the 35th radical) to ad-
vance; ripening corn. Now, ei- ther barley or wheat, according to the times, the pla- ces, or the epithet added to it. — It is the 199th radi- cal of a group of characters relating to gorn.
Ww, Shé'. Primitive sense, #€ corn w gathered in the fag barn; 2A 3K, AK i EOE HH z ; 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 3E and the top of jaf were blended intoa —... Phonetic series 755.
Yin’. BRD KR He A HR logical aggregate. A dog (FR . 434) that shows his teeth, the
points of which are ee by BE instead of AA (page 46, notice 1). It forms the phonetic compound AR yint, to desire, to ask, etc.
cy
Note: 3 chia', to pinch (L. 27 F); Zé tsu?, soldier (L. 16 M); as well as different others (27 BCD E), have nothing in common with the primitive A
which is spoken of here.
Second series: A repeated twice and superposed ®. It represents the hair of the eye-brows, in the hanging fruits in
D fe
Mei?, eye-brow, L. TA.
A @
Viao?, to bear fruit, L. 41 E.
—————
Ad Etymological Lessons. 43.
Third series: A repeated four times AQ. Note the arbitrary deformation of the modern forms in this series
Ch’ui?. A bough loaded with leaves and. drooping
E % R flowers; Ei AR HE FE P HER JE. This character, now obsolete, was superseded by the next compound, its synonym and homophone
Ch’ui?. To hang, to be suspended from. Itis the last
i aA character combined with - t’'u®, the earth (L. 81), the leaves hanging down towards the earth. — Phonetic series 435.
ah Hua’. Flower; 4 7c x 4h, o BR fa, BK GS & {E 4%, The vernal expansion *F (L. 58 E) of ala lea- ‘ere ves and flowers. In the second ancient character, AK is a radical redundance (L. 78 B). — Phonetic series 687. — The modern character #~, means the term of +t vegetal 4% evolution, the flower (L. 30 D).
See L. 46 C, where this character was fully explai-
Y h n Ch’a'. Divergency, error, etc. It isa logical aggregate. 8 — ned. — Phonetic series 506.
Sut. Pongee, %& silk obtained from the cocoons of i wild silkworms, collected on the afa boughs of mulber- » ries. Ghuan-chu, natural, simple. — Phoneti¢ series
568.
Kuail. [t represents the torso, back view. The verti- cal line is the spine, 4 represents the muscles on each side, -= represents the waist; #2 BY a. iif otk | KAM AR EA IE i FR SF. — It forms
Jz af A Chi? Spine, back ( L. 65).
Etymological Lessons. 413. 44. 45
So far, all is right. But there wat another
JK Kuai'. Odd, singular, irregular. See L. 403 C.
The scribes confounded these two kuai', so well defined and distinct in the ancient writing, and they formed thesingle modern character Jfé, which resembles
neither of them, Now one may read io K’ang-hsi, y u under the arbitrary radical J , 9 kuai, spine, odd, irregular.
Who is to blame, if the students not forewarned, find Chinese characters absurd aud inexplicable?
LESSON 14.
About the primitive A, and its more important derivatives. Three.series, A, &. 2.
A Chi?. Notion of union, of assemblage, of a junction of different elements, represented by three lines. Three is used to mean many; = 4 AM. fH. A primitive, which is now commonly superseded by the character
L\
PX Tai eter conageh WR A. 4& chi® (L. 119 G). It forms
oN
oS
Ho2. Union, agreement, harmony; A Bt #L BRA, KOG@&= 0 Wh B @. Etymologically, many (three) [J mouths (lL. 72) speaking together; good understanding. — Phonetic series 198. — Note the two following compounds: ? wy Va’. Vetch, pea, vegetables Pw, a VEX whose boughs are joined, get = o entangled. Ghuan-chu, to join, Ps - to adapt, to answer. In the last
sense, this character is now written #, which is unautho-
Pi
rised. — Phonetic series 570. Yen®. To join & the hands £3 > to cover something ; to cover.
a eX See L. 47 1. — Phonetic series
496,
Etymogical Lessons. 44.
Shé#*. A shed, a booth; BR TY i SERA YY (% FR Wt Wg Ab, Joining of [J walls in beaten earth and of thatch (LL. 74 and 78). In its modern form, this character seems to be derived from 7 (L. 102 C, 485th radical), under which it was classified by K’ang-hsi. But there is no relation whatever between both. It forms the compound # shé*, to part with, to reject, and the logical aggregate
m Viel, me; Bb BH Be yh Z i. Composition: A 7
im “distinguish (L. 18); BR & contracted, oO being replaced by /7\. The Chinese custom requires that,anyoue entering a € house, A should make known his presence and distinguish himself from any other person by crying out: #It is I, so and so, who comes for such and such a purpose.».. .A man entering a house and keeping siience, is liable to suspicion. — Phonetic series 319. It forms the phonetic compiex
Wy Ch’a’. Tea; FA YY, 4s Be. The modern scribes mutilated the an- ae OK
cient form.— Phonetic series 507.
Hui". To gather, a meeting; & 4. Fe he BR A, KR & 4. JK. To order A, toadd 4 (contracted, L. 40 D). The ancient character was simpler; 7 , Kh Sh ZA BR AZM BS BH. To assemble 4y a multitude represented by 2 three. — Phonetic series 736.
Chien’. Meeting, together; #4 wy. From A to gather, from JY A several men, from several mouths. It is a well known fact that a Chinese crowd cannot keep silent. — Phonetic series 726.
Yiti?. A small boat, a primitive barge; } 7 44 dhe WR AB AK St, & 3K Junction of a few planks, forming a boat ff, to go up the river {{ (L. 4% D). Note A for Sf} (L. 66). Note also that the engravers often cut }J instead of {{, which wrongfully reminds of the 18th radical (L. 52). — Phonetic series 501.
Etymological Lessons. 44. 47
Fs po a=W Liin®. To gather A documents Hf (L. 156), to com- 3) HK pare, to meditate, to develop them; Ho BM A,
AK Hl. & HK. — Phonetic series 380. -
" tape Yaot. This character, which is’ much like the preceding, is not derived from it. AR mm, BR A, AR FRE Hee Atui tee BS a= 4, dh, A flute, a pandean pipe. Assemblage A\ of se- veral bamboos, the [J holes of which are disposed in a row, and that gives sounds together; ff 2 LJ A KK tHe Now, accord, harmony, in general. — It is the 214th radical of characters relating to pipes and si- milar instruments. — Phonetic series 835.
oN “am Note the two following characters: 4p ling*, decree; = @ and its compound by the addition of a FJ mouth, pr P ming/, order. There is a difference between them. A AY BR A, BR OY, BE Rs bo fix A upon a written 4 order the seal JJ (L. 55 B) which makes it a wril of
: execution. Bp, AA FA 4,8 HR; an order 4} gi- “> ven PJ orally. ZE Si 75 4.46 B BS tir. — In the
Ud philosophical language, # means the decree by which heaven calls men to life and determines their fate. Two
wid Rr ancient characters express this meaning well: mouth of heaven dictating to a man his destiny bet-
ween “— heaven and earth (L. 2D)... A, combining
of the destiny of a JL man. fir 4. FS ARD thee. Keres KAS EAS b. —
Phonetic series 135.
J Note. In the modern writing, AY may be easily confounded with A 41th radical, L. 45), AQ (12th radical, L IS), JQ (9th radical, L. 25) placed on the top of a compound. K’aag-hsi arbitrarily classified §y under A, & Ay fix % under J, etc. But the horizontal line of A, some vestige of which generally remains, is the test that manifests the mistake. Its presence is
indicative of a derivative from A. — See Ay LL. 15 B.
48
Etymological Lessons. 44.
Second series; 4. This character is put apart from the derivatives of A, on account of its many and important sub- derivatives.
L
<=
Z,
»
Chin'. The actual] moment; notion of actuality, of presence; #2 He UM AM 7.@ Be 7.& X MR '¥. The composition is tautologic; AV union, F contact. Note that “7 is often written \". For the old forms of J@ chi?, see L. 19 E. Phonetic series 47. It forms
Han?, hén2. To bold in the mouth ( to have actually 4 inthe MW mouth) A O. KR > S HP B, Meaning chuan-chu, to contain, to shut up. — Pho- netic series 272. — It is distinct from FA yin®, to mutter, which is composed of the same elements.
T’an!. To covet; M WBA SB HS Th io The feeling moved by the presence 4 ofa & precious Object. Its phonetic compounds are unimportant.
Nien!. To remember, to think again of; 3 BE ah. Ki. PAS. ap RE, To make 4 actually present to the jf) heart, to the mind, a fact of the past. Derived meanings, to speak of, to recite, to read; these actions reviving, making actual, the idea of a thing passed or absent. — Phonetic series 385.
Yin*. | wine (L. 44 G), & new. It forms
Yin*. To drink; to water. This character is now written #R,a wrongly chosen compound, for it means R
to wish for & food. There were formerly three chara- cters
Yin*. To have water 7 in one’s presence ae | drink.
Yin*. To have food — at one’s disposal 4; to eat.
Yin*. To ®K wish for @ wine; to drink.
The first character, which was the right one, became obsolete. An element was taken from each of the last two. Thus was made the irregular character BRe
Etymological Lessons. 14. 49
<—~ Yin‘. Cloudy weather; % 7 W ay. zehbh S,
e Ben X B F,Lit. There are actually 4 clouds
ze (L 93 A). In the dualist system, & yin denotes the
Pp AN. —-_ inferior principle (obscurity), by opposition to ix Zz or yang the superior principle (light). The compounds
PE and f# are now used.’ & yin', the shady Northern
watershed [§ ofa valley; PZ yang”, the sunny South watershed [§. See L. 86 A.
Ch’én'. The sharp pike of a [Jf mountain (L. 80), It Q S a is a phonetic complex; AA il], 4 BE, — Phonetic
series 253,
Clvin?. A phonetic complex. See L. 83 B. Note the contraction.
R we Ch’in?. A phonetic complex. See L. 23 E. SE
S
Third series: ¢.
ae Chin’. Metal. According to the Chinese geology, the 5 ira metals are born from the earth, 4 4 ff -+,Hence the etymology: M+AGER CEL +S EB. “=~ 42> HE In the bosom of the earth -—, two grains or afc. nuggets of gold; “> is phonetic. The bottom stroke of 4 is combined with the top of +; and is sometimes a inverted, as stated above K. This interpretation was ~ aL made by Li-ssi. — The old character was composed of four nuggets, of horizontal lines denoting the stratifi- cation of the metafliferous layer, and lastly of a cover which meant that the whole was conceiled under the earth. Evidently a primitive. FG 2 (@ Fé. — It is the 167th radical of a group of characters describing
metals and their uses.
50 Etymological Lessons. 45. LESSON 15.
About the primitive A, and its derivatives.
Ju‘. To enter, to put in, to penetrate into; Ay &,
A /»~. yA ‘WH 7 HE A ti J@, The character represents
the penetration of roots into the earth; the vertical
line representing the plant, the two descending lines
denoting the roots. It is the reverse of tH ch’u', to go.
out (L. 78 E), that represents a plant growing upwards; #& HH SF AW,— It is the 11th radical.
Beak Ch’tian?. Complete, entire, perfect. The etymologists sat give two different interpretations of this character:
1. The old one: BR AB 1, & 3 The work <—_— L C.. 82) is ordered A, finished, complete, perfect. ae According to this etymology, 4» is derived from AN
(L. 14) and not from A. The bottom stroke of A, is combined together with the top stroke of [[.
2, The modern one: KA FA 4 Bf eA
Be A = jade (L. 83) spotless, perfect; A. would be an abbreviation of JA yen® (L. 117 B), used as a phonetic. This unlikely supposition is of Li-ssw.
Phonetic series 192, under its present form.
C Wy AQ Nei‘. To enter, interior, into; AR J, 2A A. & Eo A Ab i A 4b, See [J chiung’, the outside, L. 84
A. — Phonetic series 74. It forms ) O'. Na‘. To speak in a whisper, as it were fY into e\ one’s [f mouth. ZF iy ho BA OLR ALS BR:
Note the modern form contracted. Taken for fy (the
fe] compound for the simple, p. 46,1), it forms the two
following characters :
a é Yii‘. To penetrate into -R, to 7 pierce with a + sharp instrument
' (L, 95C). — Phonetic series 720.
Hsi'. Swallow; 3G ay, BR €€,
B ES AB. Y (Gd GE WA bird
#£ that builds its nest within
the dwellings (a thing common in China); Yl (and not (lJ, as the modern cha- racter might induce to believe) represents the head (L. 78 A), says the Glose. It may be so; it seems probable however that Ht represents the grass with which
the swallow stuffs its nest. — Phonetic series 840, # is a wrong abbreviation of this character (see L. 87 C).
Etymological Lessons. 45. 46. 54
The following character is derived from AW, and not from ia. It is formed by combination and fusion of # and fy. The mouth [1 at the bottom of the compound, belongs to & (L. 73 C).
© ee Shang’. To give advice, to consult, to deliberate; BA fal B.A i, To express FF, one’s f¥ interior feelings. SSS
In the old character there were two ff days added,
which proves that the P§ $F deliberations of old, oe were not shorter than the present time ones; they probably took place during the night, between two days, justas now; 4 WA SAA — B.— In the sense of trade, 3] is chia-chieh for its com- 24 pound with Ef (L. 161, cowry, the money of the an- cients), trade being made with P¥ talk and E{ money. The Glose says so.
E In the modern writing, A, became » on the top of C3 wang? (L. 10 E), jaf lin? (L. 76 B); and + in JR érh? (L. 18 0). — Two A are a part of the character fff liang? (L. 35 H 1).
LESSON 46.
About the primitive #.
’ I‘, Clothes, a cover, cloak. The summary outlines of
A IK. maa clothing. On the top, the upper garments and sleeves,
-E (@ WH @h. At the bottom; the robes waving and Ss draggling, P (& BK Aa Z@ JE. — It is the 145th yf radical of a large group of characters relating to garments. The phonetic complexes are not important, note (% i', to rely on, to trust lo. Note the modern contracted form, and compare it with that of aR
413th radical (L. $ D).
Note. In composition, # has three positions. — 4. One the left side of the cha- racter. It is then contracted under the form 7. — 2. on the Lop orat the bottom, it is then unchanged. £3 3. Cut into two halves, % on the top, AX at the bottom, the phonetic being introduced between the two. These characters are not to be confounded with those belonging to the 8th radical »-; AX is the test; any time one sees AX ut the bottom of a compound, then it is a derivative of ZX 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 modera forms. The lower part has also been altered in the
character ae (L. 16 M).
52
Etymological Lessons. 416.
Examples of the four remarks. CMBR ~~ BREE Be ne tT Ax 4o oe Be Ze.
Note the following derivatives ;
B AQ AD
ca RR A 2
a
=~
7h Da OD BH)
Ch’u'. Beginning; 44 4. MI. aK. & A JJ knife and # garments; for, says the Glose, the cutting is the first thing required to make clothes.
RA HK 7 && 41. This is quite true!
Nai!. To bewail, to lament; BR Fl, WM KR, & RR, Howling [{ of the mourners clad in mourning #& dress.
Shuai‘. So!. Straw-clothes against rain ; WR Py Ze Hi, BA de, Fh (BR, (See L. 116). This character is
+
now written $=. — The modern meaning, decay, is chia-chieh for #¢, cachexy from malaria, slow exhaustion caused by the marsh-fever, the J disease of the rainy %€ countries. — Phonetic series 563,
under its modern form.
Chung’. Primitive sense, tbe under-garments: 3
clothes, 4 inside (L. 109); BR 3, BA oH, RK 4h,. Then, by extension, the inside of man, the feelings of his heart, fidelity.
Kun, Official Z& robe # of the Emperor, adorned
with dragons; RA ZS 4, & FR. See ZL. 18 C. Note the modern form. - Its phonetic complexes
ave nol important, v. g. 4 kun*, to bubble.
The two following characters are to be carefully distinguished:
Li. The inside, the lining of clothes, Ze Ay ay, JA He, {fl iE, Then, in general, interior, inside. ®f is a syuonym. See fA L. 149 D.
KKo%. To tie up. Pe ALBA BE BE, Note that #He lo® naked, composed of the sam2 elements, is neither an homophone nor a synonyme. See JR L. 120 F.
Bay
bik)
30
~y = BBO
Etymological Lessons. 46. 53
Hsiang. To take off one’s AK robe HeAC H > 32, in order to work in common, to help the others. See (L. 72 H) the radical nang?, intricate and unrecog- nisable in the modern writing. — Phonetic series 834.
Huai’. To tie the clothes tight round the body; to hide in one’s bosom; We 4. See (L. 105 C) the phonetic tai *. — Phonetie series 820.
Piao®. The outside of the clothes (compare above G). The first garments 3 were beasts’skins worn with the % hair outside; & A Kol) E BH. Sh : Fe, K Sh tho Bh BE, BM Ez, F HH. See %
L. 100. — Phonetic series 389.
Yiian®. Trailing robe; £& K AA Kw OR. About Hy, contracted and combined with =, see L. 91 E. — Phonetic series 587, [t forms the phonetic complex
Huan?. Timid looks; 3€ 7 A B. & . See Ej L. 158. — Phonetic series 784, under its modern contracted form.
Tsnu?. Soldier, satellite; AA KK. KA —. # HLA garment Zé, marked with a — sign. The uniform of the ancient Chinese soldiers, viz. an ordinary garment with an indicative mark; 4 Ay Hl HR BZ, Then, by extension, the man who wears the uniform, a soldier, a satellite. Lastly, a sudden and unexpected accident, end, death; the soldiers, says the Glose, being unceas- ingly laid open lo surprises and to death in their fights against the enemies and against the wild beasts. — Note the alteration of the two modern forms. —
Phonetic series 403.
54
Etymological Lessons. 47.
LESSON 17.
About the primitive 2 and, in an appendix, about some characters that might seem to be derived from it, )ut that do not do so in reality.
A
Ping}'. To freeze, ice; 7 He eK ke 7 BK Ne ay He Ae BE yl Z@~ lt represents the rays that appear by crystallisation at the surface of water when it is freezing. —- It is the 15th radical of characters referring to cold, freezing, and ice. It forms
Ping'. Ice; 7 water 7 crystallised; JI B& Aho BA 1 WK, & &. 7 oh %. — The scribes often write 3k, which is an unauthorised form. This is not to be confounded with 7¢ yung? (L 125 D).
Yeh. To fuse metals, solidification 7 of the melted metals; #7 4. BR ; Go. & eM Cp Ht, & we fh & Ul Ze Bj. See @ L. 85 E.
Tiao'. Taken by 7 frost, exhausted, fading, dying;
PR 7. A. See JL. 109 C.
This character suffered from many fanciful alterations in the course of ages. Its true sound is p’ing?. It means a By horse slipping on 7 ice, nervous, an- xious. It forms the homophone derivative
P'ing?. Anxiety 5 of the j%& heart.
Now 1. The first of these two characters was misused, as an abbreviation, for the family name & féng?. 2. The second was misused and written (chia-chieh) for iE ping’, proof, evidence, to lean upon. Then the scribes semi-repaired the mistake, which change gave birth to the new character #5 p’ing?, proof, ete.
Se
Etymological Lessons 47. 55
F ZS Tung. Winter. It forms #% chung!, end, extremity, term.
Before explaining these characters, the primitive XA must be dealt with.
AR
AS FO 30
Chung'. & R—~ Hw ZH HE, It represents a thread skein, the extremity of which is fixed by a tie or a brooch, to keep it closed. Hence two notions, end and fixation. — Compare L. 83 B. This character, in its modern form, is to be distinguished from the 34th, 35th, 36th, 66th radicals of K’ang-hsi, Now let us come back to
Tung’. Winter p Hy 33 oA 7? BK NX. The 7 frozen AZ end of the year. The old character meant AZ cessation of the solar § action, confinement of the sun; % AAA AAA AVE 24 he FG. For,
says the Glose, AQ must be interpreted as in
Lao?, a paddock; 4F oxen AQ confined. In the moderu writing, AZ was changed into “+ by the scribes,
Now £% Chung! replaced the primitive AZ, in the sense of end, extremity, term.
Appendix
ow
SB })
In the following characters, A is a special primitive, that has nothing in common with ;. It means thongs, folds, in G HI J; scales, streaks, in K.
Ju‘, jou‘, Meat, flesh. X BW, A JE. Thongs % of dried meat, made up into a 7J bundle (L. 54). The ancient Chinese were used to dry-salt meat, without smoking it. The pay of a school-master is stili called 3 4 shu-hsiu, because he was formerly paid with dried meat. See L. 65. — It is the 130th radical of many characters relating to meat and food. Note
the derivative
Tsu®. Credence-table charged with meat, that was
offered in the sacrifices: 9% Py ZE BOLE. Hm.
See L. 20 D. K’ang-hsi wrongfully classified this character under the 9th radical f\.
56
Etymological Lessons. 17.
Ch’iao+. The top lip. ZR flesh above the FJ mouth OE W 4b. &, It forms the phonetic complex
> DX Ch’iao‘. To restrain Jf on’es
AN BE desires. There are various chia-
chich. @ MU AR VB HK.
& Je See L.55B This character is now written #);
it isa licence. It forms the phonetic complex fi JH
chiao’ the feet. — Distinguish 4} ch’iao* from 4 ku? (L. 18 E); the modern writing of both is identic.
Vien’. This character matches with the preceding. It means the chin, A flesh below — the mouth (a
line between the two lips closed). P py a. ff. The circle depicts the chin-dimple. See L. 44 B.
Hsi?. Thongs A of flesh drying or dried in Q the sun; Br Wy wae WALA LW 2, 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 incor- rect, recalls i (L103 C). The modern form is con- tracted. — Phonetic series 358. It forms the phonetic complex
3 WN Chi. Field ploughed by the a Ge Emperor. Appanage. Property.—
Phonetic series 770.
Yii2. Fish. See L. 142 A. Here ZA represents the scales. A sharp head, a scaly body, a tail represented by 4& (L. 126 C), makeup a fish. The modern character is contracted. — It is the 195th radica! of names and parts of fish.
Chiao’. Horn. See L. {42 B. It would be the preceding, less the JX tail. For, says the Glose, a horn resembles a fish. It seems rather to be that ff is a primitive, A representing the streaks of the horns. — It is the 148th radical.
Etymological Lessons. 48. 57
LESSON 18.
About the primitive 7, and its derivative sf, which forms an important group.
First series: /7\.
a AN « fh )( ak
» AS )y\
Pa!'. Etymological sense, to divide, to partake. It is a primitive representing the division in two parts, the separation; i) th of&o ap Bi) 2 JE, This character now means eight, this number being easily divided into two equal parts (note that four, a square, is a kind of unity in the Chinese reckoning). — It is the {2th radical. Phonetic series 8, — In the compounds, J\ placed on the top of the character, is sometimes reduced to two points in the modern writing, v.g. igs for #4. Most of the characters having P\ at the bottom in the K’ang-hsi dictionary, as at & H HB dh, have really nothing in common with this primitive. — Note the following derivatives:
Fén’‘. To divide, to separate, to partake; ij 4 BA NK TF HFT UH WH A FJ knife (L 52) that 7\ divides. Phonetic series 58. It forms Aye IS Pine. Poverty, pecuniary E} difficulties. That to which leads pars the Zp partition of A goods; Hy TP. > OE A Et BR Fp. PR) 42 FRoog FL was the money of y) the ancients(L. 161). The ancient form is still more expressive; 4 a. BA +> dwellings, KK Fp to partake. Note that the heritage being equally divided among the male offspring, and the Chinese families counting many members, poverty follows the partition.
Kung!. Common. Division and distribution 7X of private J, goods (L.89 A); A 7K 1. oH HJ, LBA. SS ZB. By extension, justice, implying a treatment equal for all; while & ( L. 71Q) means justice in the sense of a kind, decent treatment. —- Phonetic series 68, [t forms the phonetic
complexes
58
Etymological Lessons. 48.
Sung!. The fir-tribe; A FAL.
\e “is BH. ZB J. — Phonetic AN b series 394.
Weng. BEB KAAA 4 2 JK i , Hairs or feathers in the neck.
The modern meaning, old man, sir, 18 a mad the characters Z4 and #F were chosen to denote appellations of politeness which
existed before; HH WW SAR BW S Ae Phonetic series 584. See aS kun?, L. 16 F, etc.
Pan‘. To divide in two by the middle, equally; a halt; i eh Zp BoB AB 4M Etymologically, 7\ to divide an 4 ox in two parts, in all its length, as the butchers do, before the cutting up. — Phonetic series 144. K’ang-hsi wrongly classified this character under the radical ++.
Yen*. The ravines, on the mountains’ ridges; separation 7Q and flowing FJ of waters; AR Fa
fF 3§&. — Phonetic series 169, Note the phonetic complex 4 ch’uan?, a boat. Distinguish ff from fye pan', L. 66 B. See §& L. 29 D.
Ku’. A deep epee agorge, a torrent; [I] 2 7.
~ AK ~ SEK AA BA. It is the 150th radical. Phonetic series 284. Distinguish #4@ ku® from 4p chiiao!, L. 17 H. The two are identic in the modern writing. — It forms
Jung?, yung’. To contain, to
XS fil shut up; @& a. From + tocover,
y~N and {} hollow, a recipient; 3a: Ghuan-chu, to enue to bear, Lo compose one’s
demeanour, a mask, a face made to #» ‘disguise the #~ depths of the heart. — Phonetic series 542.
Hstin4. A ravine, a torrent, See L. 118 D.
Ae
Etymological Lessons. 48. 59
Chieh*. Boundaries, limits; the lines that n 7M DK
separate AY men. B.A Ar @ RA KA. MWoFk IN ZF Fp A, — Phonetic series 42.
. Pi?. Certainly, necessarily. An arrow ~& that divides G Zs )r( 7\; that solves a doubt, a dilemma; M 7\, kK X:, HK YA) FP a, It seems to have primitively ' been a kind of interjection pointing outa strict order; 2 HE 2% Fi, There are different meanings derived from it. K’ang-hsi wrongly classified this character under the radical y%). — Phonetic series 148. It forms the phonetic complex
a“
Mi“. A quiet »— retreat (L. 36), dk close, still, silent; 4 4b. — Phonetic series 382. It forms
n Mi‘. A grotto, secret, mysterious
me fi | y (L. 80); (ly am mH AL, Ete. IY
Second series: dy
Hsiao’. Small, trifling, mean; 2 FR MW, This Hay Jil
idea is represented by the /\ partition ofan object |
already small by its nature; AA | ifi 7\ ap 2
. — It is the 42th radical. It forms
J Chien. Point, sharp. A Je big object (L. 60) that 5 becomes dJvy small on its top. Itisa # 3 vulgar ’
modern character.
IC Hsiao‘. To be like one’s father, not degenerate; J 3 £4) A 4H (Ll a. Small sjv flesh fy, onSprNam like the big flesh, one’s parent... AR ff pu-hsiao, to be degenerate; AW He KAA A be — Phonetic series 277. In the modern writing, some derivatives of 42) (L. 65 D) v.g. is. seem to be derived from #f; the scribes are the cause of this mistake, as of so many others.
JZLW “ So®. A small sjy object, not larger than the A (L. K i 161) cowries used as money by the ancients. PR hy,
KA, & BB. B RE Z FE. In that sense, this
| gharacter is now written $f. — Phonetic series 566.
Etymological Lessons. 48.
Hsi‘. Chink, fissure jJ, aJy very small, that leaves passage for a slender fy light (L. 88); A G, E F hy. wR ES KH — ih E. Note how the top of &] disappeared, by its fusion with the upper J.. This character is now replaced by the compound B& hsi*, chink, fissure.
Mut. Striped; gH WB A.B A OB. FE This character is derived from the preceding; the Sy on the top was suppressed, and replaced by & (L. 62 A) stripes, added at the bottom. It forms 2 mu‘, the waving of grain; chuan-chu, grace, amenity.
Shao. Little, few, wanting; A 4 ay, It comes from J to diminish that which is already gJy small; Kok) 8%) SEB RS E, See L. 7 A shéng!. — Phonetic series 80. It forms SAN it \ Shalt. Sediment, gravel or sand (\\ deposed by water. JK ep Be FG Mh BK IK BA D>. LIK OD, yb §1, Thathwhich appears, when 7 water a} * decreases. — Phonetic series 302. It forms Hy gy Miao®. To contract oH the 7 eyelids, or to use one eye [F] on- ly, in order to examine attentively
a subtile object. J A #0 wl th. & FR. By
extension, subtle, confused. — Phonetic series 465,
Chiao’. Is derived from ;':, and not from 4. A sparrow. fF Noh B ab AA oh A HE. & OR, Lit. the small )fy bird € that lives from the superfluity of men; and, by extension, any small bird. Note that the J that reminds of Jy, belongs to fF. See an analogous case in #2 (> 4F L. 34 F). — € forms the following compound, in which sfx passed through a still more singular alteration in the modern writing.
> YN whieh? To cut off; Ef ah BA iu GE HE, See 71 F. Not to be ray
confounded with the =
aM derivatives of FF, L. 96 B.
For 4A hsing®, see L. 158 D.
_ Etym ological Lessons. 48. 49. 61
Appendix: The following characters have nothing in common with fy nor with }. See #j L. 36 E, fR L. 35 F, oe li 92-A, oh L427 A. a e715. C, ae L: . D, Jit L. 59 C, $F L. 126 E, HH ik A OL. 442 G, L, ete. The following is derived from 7\ and not from JJ,
0 Erh®. A final used as a full stop, equivalent to a AS there now, that is done; ff =; fm jt thi G@ wa At the end of a phrase, the voice is A, drawn in, and the
As ] reserve of breathing is 7 sent forth; BR AC |
NN. & HN HA ZB A> 4, It is now used
ap (chia-chieh for fm L. 35 L) as a personal pronoun, thou, you. The'modern compound fj is used for the
ES 7 same purpose,
LESSON 19.
About the two series J% and jg.
First series; 74.
A difficulty in general; (A. & Z Hy ¥. Itisintended
to represent the air curling to make its way through
If, Ic the wind-pipe. A sigh, a cry. This character, or rather : the sound that is written 7%, is in style an important
ZiJ, as say the Chinese etymologists; the
Ip Nai®. A primitive. A difficulty of breathing; any
connective particle, a # BZ conjunctions being not meaning characters, but exclamations to make the hearer understand, how that which one is to say, is connected with that which one has just said. — Phonetic series 7. In reality, 77 does not form a series.
Among the derivatives ascribed to it, 1 Those in nai are arbitrary abbreviations
of more intricate forms, e. g. Wy for fpf nai, milk. 2 2 Those in éng and ing belong to the phonetic Ba (Jater ou 304 ) jéng!, for which J; was written from immemorial time. \e8 meant the shrieking cry of a bird surprised on its nest, a meaning analogous to that of Jj (See jy L. +t D, and [_ L.10 A). Now 7% and 39 being both read nai, are used one for another, and 7% is the graphic radical of a series
that has no relation whatever with it.
62
Etymological Lessons. 49.
To this character Jj combined with AQ chih3(L. 3 B), is ascribed the compound
B Rp 29
Ying’. Note the fusion of the J from AZ, with the J from 7}. Success, happy issue. To get AZ well out of
a Jy difficullty; > #€ 7 KK. It forms with the dish MM CL. 57), the compound
Ying’, AW Ml, M i. & BH. I Bb The abundance that comes to one when, by one’s efforts, one J4 arrived to fill with provisions fff] one’s vessels.
The elymologists give also as a derivative of J;
Note. 3% L. 22 C, and # L.
Second series: .
oR B
a ®
Yuin‘. To be with child, §% 4h. This derivation isa fancy one, as the commentators admit. In this character, J% is a primitive, that represents the closing in of the -f (L. 94 A) foetus by the womb.
23 B, have nothing in common with Pye
Chi’. To reach, to seize, to catch; 3 Wy. BR WZ BR A. H&S. A J hand that seizes a J. man. Not con-
nected with 7%. — Phonetic series 40, Note the compound
Chi?. An emotion J of the jM heart; with that which occasionally ensues, haste, zeal, impatience, hatred, etc. Note how the old form of J% was preser- ved in the modern character.
EK Note: & had old forms, primitives, now obsolete, but that may be still found in compounds, Those forms are
wreak,
For instance at the bottom of
aaa
Chin’, L. 14
me Fe\
K, Shih‘, L, 34 D.
Etymological Lessons. 20. 63
About the primitive JU, and
First series: JL. woe \ » FE RY
Je in HH
Note: Jl is written as an eg. fii chi! for 6% dearth,
Second series: f.
of A
© Bo ai Wy
LESSON 20.
its derivative that forms important compounds,
Chi'. A seat, a stool; 4B PR L) SE ah (BR IE, — It forms the artificial 16th radical. Phonetic series 4. Derivatives
Ch’u’, ch’u‘. To stop in a place, to sojourn; a places; BA JL BK NM. F HAM ILii Ik. The primitive idea is AZ to have found a Jl, seat, a place of rest. In the modern character, #2 hu is a phonetic redundancy. Compare fyg, L. 32 C.
P’ing?’. To lean up, to sit down; #e JL aw. AA JL. BR ({& (L. 82 C). To lean & one’s self ona JL stand. By extension, moral help, proof, evidence. This cha- racter is now written #4 or %% L. 17 E.
arbitrary abreviation of more intricate phonetics,
famine.
Clvieh®. A partial primitive. It was formerly pro- nounced tsu* or chu’, It representsasmall Jl, square stand, with “= shelves superposed; this utensil, so common in China, was primitively used at sacrifices; the — lower stroke represents the earth. See #@ L. 17 G, the modern form more explicit ( the stand, Jy the meat placed upon it); KA JL, Am BH. HP th hoon Hoe OS A A. Now B changed its meaning and became (chia-chieh) an important conjunction, #& 3 2 je]. — Phonetic series 110. It forms the phonetic complexes
Chu‘. To help; AA Wy, H #, 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 409th radical. See the
lead cut character here joined. — Phonetic series 264,
64 Etymological Lessons. 20. 24. Ch’a®. A proper name; KA AR, A RE, Chia-chieh for gz, to examine, to search. — Phonetic series 420, See below, note.
Cha’. A proper name; BA JE,A #, — Phonetic series 589. See below note.
G
foo MDE
characters, F and G, as here joined, which leads one to
mistake them for derivatives from ] L. 143 B. —
These characters, with their series, would, according
Bg to the Chinese etymologists, originate from the Kiang-
tad su. Hence their anomalous pronunciation. It is an effect of the dialect. See pp. 15 and 16.
Note. The engravers fancifully cut the two preceding Se]
LESSON 21.
About the primitive Jy fan?.
— Fan, Idea of generality, of universality; 8 2 #4
A =| % +i, This character was differently explained by the
- philologists. — Some, starting from an ancient form
J [Ss that was probably but an abbreviation, explain: 2A
RH (an old form, L. 19 E), AA =, 4 HR, The num-
= of heaven and earth, generalised by J@; all beings existant. — The classi-
cal es of the character seems to denote a more natural explanation: —. the
unity, the origin of beings and numbers (L. 4 A), contained in a kind of primiti-
ve, which denotes the generalisation of a particular case. It is the true notion of
Mu. — Phonetic series 19. The scribes often write fq, instead of FU or A, (L. 11 EJ). See also Ji (L. 41 G).
B 6 Glose, when the wind blows, insects are born; Jal i}, AE ith. This composition and interpretation are in the ES manner of Li-sst. —The ancient character was derived =) from 4 sun, J motion (L. 7 A), KX extension, expansion. All this seems to mean that the atmos- pheric currents are produced by the action of solar rays; which is true for some winds. — It is the 182th radical of a group of characters relating to storms, etc. Phonetic series 439, See By (CL. 14 C),
(ay Féng'. The wind; A #h 4. A, RB. For, says the
3
Dil, Dh
Etymological Lessons. 24. 22. 65
Féng‘. The male phoenix. A modern character; JR Bis Mu HE See the old character, L. 64 I.
P’ei*, Small ornaments made of jade or ivory, scent- cushions, hanging from the gird!e, when fall dress is worn, KA NAA PLAA T. €F ERT UL. Anything
FU worn bya JAY man on the hy piece of linen which, being rolled up, makesa girdle (L.85 4). This charac- ter seems to be of a relatively modern origin.
LESSON 22.
About the primitive JU, and its derivative 7.
First series: Jl.
my 7 2
Second series: %.
kB
ae
Shu?, ch’a’. The jerky flapping ofa short wing; EB Z Ka A He TU SU bs t{& JE, Then, in general, any rhythmical and jerky motion. The derivatives of MN must be carefully distinguished from those of J% L. 19, and JU) L, 20; in the modern writing, this distin-
clion is not easy to be made. Forms
Fu. A wild duck; the bird F which flies JT heavily; Be Hh WBA EAA, TS. BO He, We JU
To®. The balancing of twigs and flowers. It is used as a specificative of flowers, — 2% #£ i-to hua. —- Phonetic series 240, Note the modern form 42.
Shu’, ch’u’®. The right hand 3 GAINS a jerky
JU motion; to strike; Py ft BR AL aii. By extension,
a stiek, a ferule. — It is the 79th es Phonetic series 54. Note the following derivatives
Shan'; Xi] yin di. , by ills, bh gop ff neh Jerky
motion of the scythe that cuts the grass ; to mow.
9
66 Etymological Lessons. © 22. 23.
BR li
yt ied
oa
u®; KA WLM Ye. The upper part of the thigh, the fleshy 4 part of man’s body, upon which the mandarins of old bestowed the 2& ferule bountifally.
Tien!; KR FEA 2¢. The great hall ofa tribunal, where flogging 2¢ was given on the Ke breech ; a realistic but exact description. The modern scribes write fi. See L. 32:A.
Shé!. fi A aL. Hii Bi dL. To notify an order;
to set in order, in the Asiatic way, with many § cries and = strokes; KA BAA 2. Boik GU (i. 52 DF fie
1‘. The satellites; those who, being armed 2% with a
whip or a bamboo, 4 ae arid every where,
pone fora victim; BA 22, BA 4, tf oH OM 4F 4 hbo
Other important derivatives will be explained elsewhere, e. g. BY tuan* L. 164 D, FR ch’ing! L. 173, fF pan! L. 66 B. Ete.
LESSON. 23.
About the two primitives #U and }/j.
First series:
> a
Chiu’, Nine; a numerical sign, without any other signification; Mk ey uf (er. J Ae. — Phonetic series 5. It forms
Hisiu‘. This character was made, they say, to be used as the name of the founder of the &%& Yj; Hou-han Dynasty, 2] FR Liu-hsiu. At his birth, AF FZ FL — “ JU #8. % F a story says there were found, hanging down from -one only Fe stalk, # nine heauliful ears. This phenomenon was regarded as a presage of the Emperor’s future elevation, Hence HM AM 1 0 RE This auspicious character was used lo designate the bachelors FF > hsiu-ts’ai, in imperial times. In the modern writing, JL was changed into Jj (See L. 19). — Phonetic series 278,
Etymological Lessons. 23. 67 Second series: +.
Jou". The hind legs and tail of an ae the track
yy 1K of an animal’s paws and rail; a step; FR Je Be tty abn. {& J, itis a primitive that has nothing in commen with Jy. — It is the 114th radical. Found in
. Cc Yi. It represents an insect with a big tail, probably
D ¥, zal the scorpion. #h 4, {& J~. Name of the celebrated
Emperor who was the founder ofthe §% Hsia Dynasty, 4989 B.C. See our Textes Historiques, p. 38. — Phonetic series 504,
Yi. Monkey; 7% ALAA AAPA 1A, & @&, Ils head, says the Glose, resembles that of the demons(L. 40 C), and its tail is a prehensile one. Cf. 7% L. 49 H. —
Phonetic series 503. Note the successive following
Ser Li?. A yak; the #4 paws and
fy the *, tail; [AJ isan abbreviation
40 C, the head;
changed into 2 in the ie writing, represents the horns (Cf. jf L. 186). — Phonetic series 628.
Je Ch’in2. It is #4, the horns Y
A being replaced by the phonetic
; 4 chin! (L. 144K). Wild animals
BE Bk £8 2%. by opposition to domesticated animals
err = >) ie cerjfes 798 83 (below 1). — Phonetic series 120.
compounds
Feit. A big ape. The character represents the fq head, the four hands, and jj the tail. Note the ae successive abbreviations, A contraction of the last if,
is considered as the central part of the compound ss
hsia?.
ies Hsieh?. The white ant; #3 4. (@ JB, it forms
on CWWieh; # WIG K BUD BH BTA, Fe, ine KK its A swarm of ierinites ## stealing K grain ina F storehouse, to eat it. To steal, to act by
stealth, etc. The scribes write in different mauuers this intricate character. Nolte that the form authorised by the £ Fa oe BR, is also mutilated. From Ff CL. 24H) there remains only a J , which leads to confound 4 wilh Fe (L. 123).
68
"&
GBC SBC
Etymological Lessons. 23. 24.
Wan. A scorpion, (% JZ, The claws f3, the head FA, the tail }4. This character is now used to write the number 10500 (chia-chieh); see page 11. ZE 4% mek Mot FB SB, Mhas nothing in common with the 140th radical, under which il was classified by K’ang-hsi. It is not derived from §4 yi? (above E), but from i ch’ai! L. 47 X. — Phonetic series 765, that must not be confounded with the series of §§. The sound of the compounds is de- rived from ch’ai‘, and not from want; e.g. 38 mai, Note
Lit. A scorpion B§ crouched f & down undera J~ stone (L.59 A). Pricking, sharp, bad, cruel, and
other chuan-chu. — Phonetic series 804.
Shout. The domesticated animals, by opposition to $5 ch'in? wild (above E); 7 PERG 4 2B SE RK
a. fF, BA SE Z JE. On the top two ears, in the middle fa the bead, at the bottom #4 the paws and
tail. The second ancient character from which came
the modern one, is an abbreviation. [It forms the compound #f shou, flocks or herds guarded by dogs. But ae t’o?, crocodile, has another origin. See fe eee
LESSON 24.
About the primitive oi and its multiples 7 ff fHE.
First series:
E+
» it
Shil?.Ten *& 2A U.—- GRY. | BA de fi) po af ef Be fif 2, The number that contains all the other simple numbers (decimal nume- ration). Symbol of extent (two dimensions) and of the five cardinal points (East, West, South, North, Centre ). — Itis the 24th radical. Phonetic series 10. Note the
derivatives
Chit. To know how to calculate; @ 4 ae AR Zz BR ty ¢% %, To know how to enounce S the fen numbers -* of the decimal system. By extension, to reckon, to plan, a scheme.
Etymological Lessons, 24. 69
Shih* An affair, a thing; Bea BR = BA +. Molt + — ie L 4¢ +. 7% <b, Because, says the Glose, all things are comprised between the We terms of numeration, — and +. By extension, a sage, a man pointed out, by his learning, to become an of-
ficial (now ff-). — It is the 38th radical. It forms =s ie Chi’. Speach [ ofa ++ sage, = bringing luck; good, auspicious, happy; 35 ab me a’ BA PA
“LE. fT 3, Compare |X] hsiung!, inauspicious, L. 38 — -4
D. — Phonetic series 180. See e L. 38 G. Compare
L. 165 B, #2 LL. 75 B, etc. Note
2} Chieh?®. A phonetic complex. =) 46 To keep one’s head yf straight;
WG is phonetic. — Phon. ser, 797. Ciien'. A thousand;.+ ff 4, BA +. A OB, Ten times one hundred. The hundred is not represen- ted in the character. The J on the top, an abbrevia- lion of JL (L. 28), is phonetic says the Glose. =f is perhapsfan old peat 2 — Phonetic series 16. Forms
Nien?. The crop, the harvest; fp me ho KA, BM To The thousand grains. By extension, a
year, the time required for a harvest. The modern
character is an incougruous contraction.
Chang}. A lenght of ten spans, now of ten feet; -F RUA RD EH 4H RRA hand 3 and +4 ten See L. 43 L. — Phonetic series 13,
Ku? Old; ke KA FAD Et {ig 7 Py. That which passed through + ten mouths, i.e. a tradition dating back ten geuerations, — if? hsieh composed of the same elements means unanimity, ten mouths speakipg in unison; “Po tt 36 1 4 WW. — Phonetic series 132. It forms
Ku‘, Hermetically closed [J on ra (5) all sides (L. 74) PQ 344. AAT], ti 3. — Phonetic series 36s,
Hue. The fetlock of an ox; BA +A 47 Ht B04 AA Ah ay. It is
uow used as an interrogalive
particle, chia-chich for $&. — Phonetic series 400.
Note: #4 ti is not derived from G- See L. 120 H.
70
G
Zo
Etymological Lessons. 24.
Chib?. Straight; A LAA AA EL, @& &, When teu eyes have seen to it, the line must be straight. See L. 10 K, where this character was fully explained. —
Phonetic series 335.
Note: K’ang-hsi incorrectly classified under +, HR L 46 E, 2 1. 46M, 4 L. 18 Ds etc.
4
‘
Second series: ¢ repeated twice {f-, 4.
H
—
L
Nien! Erh*shih?. Twenty; = -- Ff a, HK. The tens added one to another. In composition, it often means a multitude (L. 101). [t is liable to be confounded with tf kan! (L. 73.B). It forms
Kung}? Auaction done in common,all taking part ia it, represented by ff twenty £4 pairs of hands; AA Hf,
KM EA. ft GE See lL 47 Q — Phonetic series 225.
Pa tse
Kuang! Light, luster, YW) Wety WA TAA KK, 67 (2. Primitively bwenly t/ 4K fires (L. 126). The modern form represents JL f& Yk, a manu with fire (L. 29); probably a man carrying a torch. Theancient form was maintained in afew compounds (belo L).—
Phonetic series 222. It forms
DS Huang’. Brightness 3% of the ow [J sun, lodazzle: fi a, 2A
AK FG. FF FR. — Phonetic series & Fo TE
} liuang?’. Yellow, the 3% hue of we " the ploughed earth EE (L. 149); ih ZF OPA TA, A 2K
Hi Note how ff and Je are mixed up. See the
derivatives, L. 171. — It is the 20fth radical Phonetic series 688, :
Etymological Lessons, 24, 71
we Shut. All 4f the inhabitants of a y° dwelling,
M AT ann gathered around the yt hearth (L. 126); among the ancients, the hearth gave light. and heat; fe T OR
tho BAT AG MX ee BE. Meanings chuan-chu
WA ali. the familial flock, concubines and children;
the human berd, the people. Various chia-chieh. —
Phonetic series 645. — Note the following logical
aggregates, in which #y was replaced by the radical.
ags
Tu‘. To measure, a Ben a pra s aes Ww ho WMA,
eS A hand = which ga. or measures BE a quantity. — Phonetic series 484.
Hsi°. A mat, a meal; because, ha in the olden times, f= people used to eat, while sitting oo
mats, the dishes being placed on a mat. ZE i, BA i. PA FE, See jf}, a napkin, L. 65 A.
Third series: -- repeated three times; Hf.
San'-shih?. Thirly; = + #f &. @ &. it Ht ++ forms
Shih‘ A period of thirty years; duration of a man’s
iF aclive life; an age, a generation; = —# if BH — . aly Hk DA THE i 2 Sef Ae, The vertical stroke of
-+ on the left side is lenghtened, to denote the
prolongation and duration of life. — Phonetic series 157, It forms
WE Yeh*. The fF successions of ee an leaves upon the 7x trees; a leaf (now FE ); by extension, a thin
plate of metal or gold; AA fit, AA AK, TE ap B.A HE Fp a, — Phonetic series 494 Compare we L. 104 A.
72
Etymological Lessons. 24. 25.
Fourth series: - repeated four times, fHf.
Ssti-shih®?. Forty; = 4 JF 44, & FE, Twice twenty. Some etymologists think this }}f to be the top part of the following character
Tai‘. A girdle, to take along as if worn at the girdle, to wear; 3 By This derivation is an arbitrary one, calligraphic, not etymological. Hf is a primitive, while =- means the girdle, and the other part represents the trinkets $m (L. $4 D) hanging from thegirdle; _[- {%, At the bottom, the robes are represented by two
ji} (L. 85), one above the other; AA WF fly, — Pho-
netic series G48.
Wo?. See L. 101, where this character was fully explained. A luxuriant 4 forest destroyed by fit a great number of Je men. It is now an adverb of negation; no, none, no more, — Phonetic series 74%.
LESSON 25.
Note: The primitive A jen’, aman, being written in different manners; several lessons are devoted to it. Here is a list of them.
AX jén? standing, or 7 put on the side. UY jén? inverted. Multiples of JU and &.
ie 65 L. 26 L. 27
A jén* on the top of the compounds, curtailed. L. 98
JL jén? at the bottom of the compounds. F jén? bent down.
FA jén? sitting down.
Y, jén? overturned.
7} jén? doubled up.
KN AL & jen? moving on.
Je jén? with arms.
29 L. 30 A
liars
L. 30D L. 54
L. 3
LL. 60, G4
Etymological Lessons. 25. 73 About the primitive J. under its two forms, J. and 4.
A Jén*. A man, represented by his legs; the one who A stands upright. Compare Fe (L. 60); fA, FEF JE. KKWAZEKRRAER SHR UL.
; — It is the 9th radical of characters relating to man. It forms Chriu®. A prisoner, to emprison; BR A 7 OY 4s, B 3%, A man J in an [] enclosure, L. 74. See B
L. 157 C.
C Shan*®. KR J 4 Pf sh, & Fe, A man J in a ga Nn door P§ (L. 129 C), moving sideways to give way
to others; by extension, a sudden and quick motion in general.
: RY y Shu‘. To guard the frontiers; J. aman with & a D RR Ne spear (L. 71 F); SF 3 ah AA A de Ze. fr FE, See the compound $% (L. 90 D).
Fu2. From J. man and - dog (L. 134). A man
ia | imitating the dog, or making others imitate it. To
R crouch, to fall or lie prostrate, to hide, to humble, to subject, etc. — Phonetic series 196.
2 Wei?. The place where a J. man is ff standing
F AZ jin erect; the place assigned, according to his dignity, to
each official; A AA 32, & BW PES A
AH > fi. By extension, seat, rank, person. See 4 (L. 60 H).
19)
Jén2. The virtue that must unite men to men;
Bh G y (eo puis tt, BRON, BR =. HH See L. 2 B, where this
character was explained.
produced by these words upon others, truthfulness,
faith, confidence; RU KB KAA BBG
h N = aM NPA Aman J and a = word. In the ez NS
old form, a J, man and a {4 mouth. In still more ancient form, a word SB and a jj heart; words coming from the heart and appealing to it.
40
W Hsin‘. True words, and, by extension, the effect
74 Etymological Lessons. 25. 26.
{is kas Hsien‘. The taoist Genii; AA J, BA Ee tT Re Nes BTR EERBA LE. S & TF Ml.
AR According to the legends, they live on the mountains,
I hence the modern character {jj, man and mountain. Aly The etymological meaning is 4 a man who pe rose, vate ® by the taoist practices, above mortals. (See L. 50 Pe ar L. 40 L).
LESSON 26.
About the J\ inverted which is now written J. (Compare with the old forms, L. 25 A and 26 B).
Preliminary note: The modern &. corresponds to two old primitives. —
|. Ay representsanold instrument, a kind of scraper, of
A A spoon. {% JE. 2E ll Z@ g%0 Thischaracter became soon obsolete. In the derivatives that remained after it (2,
Fl, etc.) it was written LK, even before the reform of Li-ssi. This explains how, in the series {, one may find several characters that mean utensils (below C, D, M). — ?. J\ inverted, over-turned. Hence the significations derived from the origin of this character; to turn round, to invert, tocompare, to join, to match, to
pair (right side and reverse).
B ai Pis. To turn one’s self round, etc. KB FE JA, — It is the 21th radical.
First series: Compounds in which & means an object.
BH Hae Shih’. A spoon, a key. (Phon. & L. 112 1).
induce the ji shén? to come down; L) #i B yi! Be FF He MM LA BE ih WAR LY BB ae ROK. kK Br LY the 2%. A vase | | (L. 38) full of 3R grain which, when fermented, produced the liquor; at the bottom, | the spoon with which people drew up the liquor from the vessel. Compare below M. — It is the 192th radical. It forms
a py) >< Ch’ang!. A special liquor, used in the sacrifices, to
a we Yui‘. Oblation of the liquor A. See L. 130 E.
D
Le
Ke.
$v 4
Etymological Lessons. 26. 79
Tsan'. A forked brooch used to fix the hair. Now -. The character represents aman /\, witha & brooch on the top. Mw HAS GK RB JE. Br Df Eo HF Hf Hw, Note the alteration of the modern character and try do distinguish it from 7 wu? L. 61 C, and from Je chit L. 99 E. Repeated
twice, tsan! is phonetic in hsun2, a caldron (L. 155 ), and in
Tsan'. To murmur; & 3 A AA Ae FE RE. See L. 73 A. Not to be confounded, either with Ae tii (L. 60 L) as many scribes do, or with 4 L..79.B, — Phonetic series 709. Note
VTsan?. J, we. This modern character is an arbitrary abbreviation of 4. Itis used, regardless of the sense, to write the sound tsan?, a personal pronoun used by common people in the provinces of/the North. Its derivatives ( and PP, much used in the books written in spoken language, have no more value than £% itself. > 5 #3) XK Hig 4k | 25 BN a 2 a th. —
4 must be distinguished from # chiu', L. 31 B.
Second series: Compounds in which & means man, ete.
en
+ $
Je » e RK, fl
Pao’. A tithing of -F ten K men. Jt forms some phonetic compounds, e.g. #8 pao®, a bustard, ete.
Ni®. Near, in contact; jf 2 #2, Morally, intimity. Etymology, BR j2, A &, fF But FP (L. 32) means also, a man. Therefore ni means, two men near one another. Phonetic series 140.
Nang?. A high JJ dignity, towards which rise the eyes and desires of K men; exalted, to desire; 5
LAD. AS eK OR 7% 4. — Phonetic series 73. Compare Ff) yin4, L. 491.
Ssit3. Dead, to die; MA MA, FRA Z KB oA A man, FY dead (L. 118 C). Note 1. tn the modern character, the top stroke of 4 is prolonged and covers &. 2. In the ancient form, instead of & , the inverted form, there is J, the straight form.
76
RL 4
AR
Etymological Lessons. 26.
Pin’. Etymologically, the cow that makes & the pair with the 46 bull. Now 4% mu* means the male, and #4 p'in® the female of all kinds of animals. Note the analogous compound $B yu!, hind, female of the
HEE lu4, stag.
K’éng?. Etymologically K to turn [4 the head. Then, to turn over, to overthrow, in general; AB ‘4 - KM A. &, There are also a few unusual phonetic
complexes; for these, see JE ts’i®, L. 412; and JE pi3, L. 271.
Vhird series: A special series is ascribed to the following compounds of /, on account both of the singular forms which were given to them in the modern writing, and of the importance of their derivatives. In the old writing, those characters were perfectly regular.
Yao?. KA A.M EL, 4% &, To turn one’s back &
to the sun; obscure, hidden. It forms £% yao’, dark as in a 5X cavern; yao’, the South-East angle, the most retired place in a # house; etc. In its modern form, the next seems to be a compound of the same elements; it is not so.
Chih®. The old form is composed of FF, the tongue — (L. 102 C), and of —, a sweet thing (L. 4, 4°); good, agreeable to the taste; Fy W. MG & —. FH. After Li-sst, the character was composed of {f kan! sweet (L. 73 B), and of & phonetic; A Hy, & . Chuan-chu, an edict of the Emperor who is supposed to speak in soft words. — Phonetic series 186. It forms E ch’ang? (L. 36 E), @ chi? (L. 30 E), #8 chi! (L. 424 M).
Ként. BRA, AY, & . Wt we aL. To turn suddenly round e , inorder to Fj look a man full in the face, haughtily; anger, defiance. — It is the 138th radical. Phonetic series 249 and 741.
Note. § liang? has another origin. See L. 75 F. , Item 3% tuit. See L. 31 C.
Etymological Lessons. 26. 77
Hsiang!. Boiled grain, the Chinese soup fig fan‘- It is composed as Fal (L. 26 C). A © vase (primitive); = its contents (L. 1. 4°); K the spoon to draw up (L. 264). ROK E Sb 2K ALS. Its contracted form must be distinguished from liang (L. 75 F). It forms the following characters:
Hsiang’. The B grain producing country, between the walled cities, represented by two fg, one of them being straight, the other being inverted and abbrevia- ted in the modern writing (L. 74 C). A & JE KB IP zZ, — Phonetic series 682.
Ch’ing?. Ministers. Those who were present at the imperial EZ meals, standing in two opposite rows, holding the {J J} sceptres, badges of their dignity;
AR Ei Be OE ops 3, See L. 55 A.
Chi?. The convenient JJ measure (L. 55 B) of B soup; temperance, moderation; now #j.— Chi? is widely used chia-chieh as a conjunction expressing the logical consequence. —- Phonetic series 424. It forms the phonetic complex Toe fy =Chieh?. A segment of the gy oe bamboo, between two nodes. Chuan-chu, an article, a limit of time, a term. Chia-chieh for chi?, temperance, moderation. — Phonetic series 798.
Chi‘. To suck up, to swallow; (L. 99 E). Ghuan-chu, already passed,as 3 swallowed B soup; finished, alrea-
dy, since; 3% 4 Sb 4, 7 t.— Phonetic series 596.
78 Etymological Lessons. 26.
Shih, ssti4# Food, to eat, to feed; AA 8, BA, D> fF FR. See L. 14, A union, together; B erain, food. K Because, says the Glose, it is by mixing the different
= (six) kinds of grain that the human food is prepared; =) FEA (H HB, Note the top stroke of J, A a contraction of EX, is confounded with the lower
stroke of AV. — It is the 184th radical of characters relating to food. It forms
L yan Shih?. To nourish; to give & Be ul food toa JL man; BR B®, BR AS EURE A tlt
forms the phonetic complexes fijff shih*, to adorn, and f§j ch’ih!, an order, injunction. See L. 28.
ZEN Ts'ang!. A granary, govern- ment storehouse. In this cha- racter, $€ is mutilated, to
make room beneath for [J (L. 74): A @ 40 ot ieg tL. — Phonetic series 575.
Chiu‘ is not derived from E. The modern forms are N
cm =] corrupt. Compare the ancient forms with L, 117 B.
The rearing of cattle, under trees, in the steppe. Hence
(S\ 7B\ now /B chiut, a stud, a stable.
O N. B. — Let us recall — 1. That §& is the classical abbreviation of g kén® (26 L), but that it is also used for other compounds. — 2. That E is the classical abbreviation of EL hsiang! (26 M). By the principle of the least effort, the scribes often write FL instead of &. — 3. That these abbreviations are to be distinguished from the derivatives of F% liang? (75 F); a thing easier to say than to do. — 4, That the engravers, following the scribes, cut in fanciful ways, several characters of this series, as one may have noticed. — See also 3h, L. 34 C.
yt
About the multiples of J.
Etymological Lessons. 27. 79 LESSON 27.
First series: J repeated twice (the straight form, L. 25).
“RK I)
5 Tk
oN
Ts’ung” A man walking after another: to follow, to obey. It is the opposite of $B, L. 27 C. AQ HE ah, KOIN@BOAM MBA Aw 4% 40. Chuan-chu, a preposition, as the Latin ab, ex; it is in this sense that ZA is so often used in this work, for the analysis of characters. It is now practically superseded by the next homophone and synonym compound
Ts'ung?. Note the curious form Ah é))) of the modern character. It is 4 Be fg composed of AA, and of # (Rad. 162; L. 112 E) dislocated; the three & placed on the left side simulate A , the 60th radical, under which K’ang-hsi wrongfully classified # and its similes ; the lower part jE is placed under AK. In the ancient character, there is simply a juxtaposition of the
elements. — Phonetic series 657.
Ch’ien!. To cut. Two men and a halberd; #4 4, BR = WN 44 OF OHH. See L. 71. Compare Ke L- 95 D, and 7% L. 47 E. — It forms
Chien’. The wild garlic; [ff
Y wy) - = = ag 4E dt BA 1B aay fe) See L. 170 B. — Phonetic series 829.
Ch’ien’. Reunion, meeting. By extension, together. He hy Bh A CL. 14), KA un, & Fi eA meeting A of
several JL men, who [J speak. — Phonetic series 726.
Second series: Two J turned face to face.
Tso‘. To sit down, to be seated; BR —, AK = A x} 4k, @ HH. Two A men sitting on the + ground, in the old fashion, and facing each other to
talk. — Phonetic series 309.
Third series:
Na
Hs js
‘Etymological Lessons, 27.
Wul?. The work J (L. 82) of BA witches; magic, incantations. Two witches who dance to obtain rain WE Bote BE LL BE OE wh A AA Ti A HE FE. it forms
Shih’. The stalks MM of mia rib} Achillea Sibirica #, that were
used by the wizards Af to divine. 5, th JW BR Hh. WK ME, @ Ho It forms the phonetic complexes I shih‘, to bite, to gnaw; Ye shih’, bank, quay.
See @2 Ling?, L 72 K. Distinguish Ah from 2% L.16M, and from #€ contracted in #4 L. 13 C, ete.
Chia!. A man X (L. 60) who clasps two J& others in his arms; to press, to squeeze, to pick up, to fix; +¥ BAK Ko HE NE Bo — Phonetic series 257. To be distinguished from BE shan? (L. 13 B), and from JE lai? (L. 43 C). It forms the phonetic complex
Clvieh*. Box, casket, AA [_
ee (2 ® (L. 10. ps BE we, It is now
written fg.
Two J, turned one against another,
7\
Pei®*. The opposite of AA (L. 27 A). Not to follow each other, to turn one’s back, disagreement; BM ie: AM Bi BN WBA Ne # it. Derived meaning, the hack #4 ay; and, by extension, the North JB FF 44, the cardinal point towards which one turns one’s back when sitting down facing the South, according to custom. — The modern scribes write FB for different more intricate characters. See 96 kuai', L. 103 C ; 3e ch’éng?, L. 31 E, etc.
Chiu’. A hill, a mound; KB IEA —, eB. — HG w,. The Glose is summed up thus: — represents the top ofa height. On the top, jj; 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
Etymological Lessons. 27. a1
directions i. e. towards all directions; a culminating point. — Phonetic series
113. — Note that £& ping! (L. 47 D) is unconnected with fr... Item, the kind of primitive 9% (1. 80 B)... But fF forms
Fis 3
fig
Hsiti'. A high upland; Air . Wh. B
These uplands being generally wild and barren, hence chuan-chu, empty, that which contains nothing; 3
Fe 22 kt BOB Ze wh. — Phonetic series
685, under its modern corrupt form.
Fourth series: { repeated twice ( J\, inverted form, L. 26).
FL ((@
Pit It is KM inverted (27 A), KH = BE. FH, To effect a union, to follow, to cooperate, to plot.
Pi*. Meanings derived from the inversion (See L. 26 A, 2°), to draw a parallel between, to compare, rank. — It is the 81th radical. Phonetic series 77. It forms
Pi®. A synonym of the preceding. The two men are placed upon + (L. 81) the earth. — Phonetic series 299,
Chieh’. Together, all; fa] 4 AR AAA IE. Several fk men ff (L. 169 A contracted) acting in concert. —- Phonetic series 428. K’ang-hsi erroneously classified this character under the radical 106 .
K’un!. A number J or men under the { sun (L. 143); multitude, generality; [a] We AA A. A SE, f 3 Chuan-chu of different kinds; #% 4) , a posterity, those who will succeed in life, under the sun; g& 4, the multitude of insects that the sun is supposed to bring forth... Chia-chieh Jf 4,, an elder brother; compare ko!, p. 14. — Phonetic series 371.
P’i?. The navel which is supposed to be in communi- cation with the head fy (L. 40 A) through channels in which circulate the “{ vital spirits. J. fA 4. Ko IR A ih +2. HE i. So the lower part would not be J&, but a kind of primitive, represen- ting the channels. Instead of Dd: the scribes write fq, hence the erroneous character here joined, — Phone- tic series 567.
44
82
Etymological Lessons. 27.
Note 4: Jf is intended to delineate the feetin some characters that represent
animals, e. g.
Fe Ch’aot’, jerboa, L. 106 C. jig Lu4, antelope. L. 136 A.
Note 2:Two J6, one above the other, represent also the feet in the following series
Néng?, formerly Nai‘, which explains the sound of
- some derivatives. The great brown bear. After Li-ssu,
this character was explained thus: two K paws, AJ the body, J, the growling of the angry bear. (L. 85 EF). But the study of the old forms reveals a special primitive delineating a head, a hairy body standing, and claws. (L. 146 H). The bear is the symbol of bravery; hence the meanings chuan-chu, valour, an officer; FF AE 7 “&, — Phonetic series 554. It forms
Tai‘. Martial attitude. AA if) AA BES? GR, — The outward of the jf interior §§ valour.
Hsiung’. The small black FE bear; +» represents the feet (L. 126 C), a graphic redundancy.
Pat. A §& bear, figuratively an officer taken in a [QJ net (L. 39 C); to dismiss, to resign, to cease, and other chuan-chu. The Glose explains that the net means calumnious accusations. Compare 7® L. 39 F.
Fiith series: J, repeated thrice.
An iil a a
ae Aa
i
Chung‘. Gathering, meeting. Tres collegium faciunt; BR = J\,f 3, The next compound, a synonym and homophone, is now used instead.
Chung‘. A crowd; K = A KA A. & &, Note that fn is not PA) (as above, in ®E), but the eye & (L. 158 ) depicted horizontally. The visual j space full of “J, men; all the men taken in at a glance; crowd, all, ele. The scribes fancifully and strangely altered this character, as one may see by the two specimens here joined.
Chi‘. To meet; Hy a reunion of 4, men; @& 4, BR= AK RE op hag See L. 146 F. — Phonetic
series 775.
Etymological Lessons. 28. 83 LESSON 28.
About some peculiar forms of J., curtailed in the modern writing, either through want of space, or through a partial fusion with a phonetic; A, is reduced to J, h, etc. In the ancient writing, J. has its normal form.
2 Chi?. To attain, to seize upon. A 3 hand that seizes a AL man. This character was explained, L. 19 D. —
Phonetic series 40,
I? Hsien‘. A trap, a pits of. 92 WOR A EB LE, B é3 @ x. FA @ He a, A man J. who falls into a [4
pit (L. 139). Cf. L. 38D. — Phonetic series 360.
Kut. 1. Moratly, a JY man who has HL cowries, (i A money (L, 164); the pride caused by fortune; insubor- dination, disdain; AA J SF A Ay Br te a, — 2.
Physically, a JX man who bears a load on his back, in order to gain A cowries; to toil hard, to suffer;
AE HA
Shé'. Primitive sense, the flush of the face; 1 dhe
. (2 BAB UAL SE BB OH DB The composition of this character is typical; J. aman,
and JJ (LL. 55) a seal; because, says the Glose, the colour of the face corresponds with the feelings of the heart, as the stamp reproduces the seal. By extension, the flush arising from passion, sexual pleasure, colour in general. — It is the 139th radical.
Wei?. A man J looking from up a J~ steep cliff
E wh fe (L. 59); a perilous situation, danger; Mp) a4, RA A
Ms fe J. & 3. There are important compounds, about which see L. 59 H.
ClWien'. One thousand. This-anomalous character
F ap Zp was explained L.24 D. J, on the top is phonetic; + is for -- 77 4, ten times one hundred, says the Glose. — Phonetic series 16.
Ting?. Upright, raised, attentive; AA J we + E, G = 7 @ &. HE we wh. WW fe] FR. A man J on the +4: ground (L. 81). Not to be confounded with=— jén4
(L. 82 C). Io the modera writing, the two characters are almost identical.
Etymological Lessons, 28. 29.
84 Tiao‘. Actual meaning, to mourn for one dead, in H order to console his family. Composition: a man J, who carries a bow & (L. 87) over his shoulders. The
Chinese of olden times did not bury their dead. The corpse was packed up in a bundle of grass (L. 78 G),
and left 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. BRU G2He BLUR MRS KB. @ oH, The meaning, to hang up, to suspend, comes from the fact that the bow was carried hanging across the shoulder, which is represented by the old character.
Chiu'. Primitive sense, egotism hurting one’s
I A Al neighbour; a man J, who does not look for his own ish 4% (L. 31 B) benefit; KA. KM eR FE
#A 3 4. By extension, offence, fault, mistake; 3
Hi, — Phonetic series 338.
Shén‘. Body, person. It is J. with a big belly anda J ZH leg. See L. 148. — It is the 158th radical of characters
reialing to the shapes of the body.
Note: The head (sharp snout) of some animal figures, is like AC in the aneient writing. The resemblance is merely a graphical one. For instance:
RR RR
T’u’, hare, L. 106 B. Yti?, fish, L. 142 A.
LESSON 29.
About Jl, the form taken by \, when placed at the bottom of the characters. \ ) Jén?. A man (two legs). It sometimes means, feet, : L support. Fy a A ff, — It is the 10th radical.
Heeh?. An infant, fe = Ww. BA JL. BA Bd. Bc is” a JL tr a AB. Ba ody fl BRS A body JL and a head Bq (L. :0 C) opened in the form of £4, repre-
senting a skull, the fontanels of which are not yet closed. — Phonetic series 352.
> ae » SL fe
¥
ES,
i
Etymological Lessons. 29. 85
Mao!. The face; RA, RE. GA HH From JU man and & (L. 88), white, colour or form of the facex Instead of this, the synonym and homophone compound Jf is now used.
Huang’; A JL bt. & #. A mouth on the top of a JL man; to speak strongly, emphatically, authoritatively. Note the two modern chuan-chu, with change of sounds 1. K’uang*. An emphatic conjunction, so much the more, a fortiori. The scribes write Ae yt Ui, but their writing is rejected by the critics, JE ff 5f- 2. Hsiung!. The eldest among several brothers; _ the one who must [4 exhortand correct his brothers.— Phonetic series 123. Note also the compounds
—_
Chu*. An 5 oration that goes with the oblation y)) ofa AR sacrifice, and that touches the wnt shén;
BRA JL RR HK Wn POLL BE
i Chou*. A modern character. The [J added is a redundancy. Adjuration, imprecation; Jif tho This character is often erroneously written 5B.
Ytieh*. Good words that dispel grief and rejoice the hearer; hence the two meanings, to speak, to rejoice. It is 5f added with a /\ (L. 18), that means, dissipa- tion; KILO ARR ARR SHE Hh eke Ws, It is unconnected with FA (L. 18 E.). It is used as a modern arbitrary chia-chieh to mean, exchange, delivery in the commercial transactions; it
is then pronounced tuit; S fg Bt ah, RF. — Phonetic series 315.
Yiin®. To consent, to grant. Aman JU, who Jy says
yes; HE the BA JL. KA Ly. & HH. To make out one’s assent, by breathing forth a yes. See L. 85 E. — Phonetic series 100. Note the phonetic complex
sy Tsun’. To walk solemnly; JA aR r AL SC HE. — Phonetic series 118.
86
G
m oF a ne
Etymological Lessons. 29.
Ch’ung!. To nourish a ZF child, from its birth till, knowing how to Jl, walk, it has become a man; AA A.B IL. @ FR A MR A A. To feed, to fill, full, ete, Ghuan-chu and chia-chieh of different kinds. — Phonetic series 189.
Yeh!. The head; FH Ww, BR A JL: Eo an =| Sb tows 4 ‘A head Fy (L. 160) upon a Soar i... Note the contraction of JU, inthe modern charac- ler. — It is the 484th radical ofa group of characters relating to the head, neck, etc.
Ytian®. That which is [ on the top, upon JU man. Head, principle, origin; as caput in latin; #& we GF HAA KA HR LBW A ie ie £. te si KA. £. & S, See =, au ancient form of
. 2G. — Phonetic series 97. Note the compounds
Kuan'. The man’s cap, then 4 If = | caps and hats in general; FP es #a % di, BA >, B 1. &
Heo, wf (L. 45 B) stands for 3), The meaning is, = what is placed 3 on the yg head, to cover it.
Wan. Entire, finished, done; A wh AA? 5G EO The putting up of the +» roof completes a building. — Phonetic series 344. It forms
pa Cl K’ou*. Robbers, to loot. The Fk man who armed with -& a stick (L. 43 D) threatens the 36 =e dwel-
ling-places; RA -&, RA ot, @& TR. A a & who
Kuang!. Light. The old form of this character was explained L. 24J. This is the modern form, JU fF Xk, probably, a man carrying a torch. — Phonetic series 222.
Jung?*. Inaction, to remain inactive; AA >, BR JL. HA BOF $6 1 BE A JL man in his + house, because he has no work to do in the fields. Not to be confounded with ‘ff yin’, composed of > and J, (L. 34 E).
K Je (2
Etymological Lessons. 29. 30. 87
Wut. A stool. A plane surface —~ upona Jl support;
BME UME bP OR
=i, — Phonetic series 36.
LESSON 30.
About F (J. who bends forward), and I ( AL inverted, the feed being
turned up).
First series: F.
Second series: J.
oo
Jén?. A man who leans, who bends Ops fe Ae 2 JE, (t forms
Chén®. BF, RK iti, @ Bo FR A 2 IB OR tt ke AP PR OS at. A woman /- who bends forward to conceal ™ her shame, says the Glose; probably her menses (not her pregnancy L. 112 L), Hence chuan-chu lime, epoch, period. — It is the 161th radical. — Phonetic series 254. — The primitive meaning has been preserved in the compound
Ju‘. To shame, to insult; BA sf, AA ke, @ FE To reveal +f (for 3 ,L.43A)a shameful fe sitwation or thing. — Phonetic series 541.
Hout’. A prince (by extension, a princess). # Je
“br SER EB i BK EH 7. The man who notifies {his orders, F bending
' towards the people. This composition is analogous to -
that ot # chun?, a prince, See page 9, — Phonetic series 199. — Jr inverted, forms Ssti!. The government, the administration, that is
like the reverse of the prince; MB Kia. dF #, — Phonetic series 159.
Hua?‘. A man tumbled head over heels; RR fal 1,
#§ 48; The primitive sense was, to die; HJ J Ss L.. BE dy. Derived meanings, to overthrow, to
transform ; #& 2 [t forms
88 Etymological Lessons. 30. 34.
Hua’. To change, to convert 2, men 4_ by teaching RXV Ns them: &% 4 BoB LAA 1, 4, — Phonetic F series 64. It forms #¢ hua!, flowers, the term of the
4¥, evolution of +4 plants. See L. 13 F.
ar Chém. Transformation by the Taoist practices.
ples See, L. 10 L.
; Lao. Old, venerable, a septuagenarian. Aman A
E Zz. ba whose hair and beard + (L. 100) change 2, grow white KAR EYRE AHS Ut
-+- A, Note the strange modern contraction of A, and of %. — Itis the 125th radical. This character forms important compounds, in which 2, was suppressed to
give room to the radical or to the phonetic. For instance:
Civi?. Sexagenarian; 4 old man who & needs a better food. See FF L. 26 K. — Phonetic series 513.
(L. 1, 1). By extension, to examine, to interrogate
a © wm A K’ao®. Old age; ‘Fy represents the asthma of old men
pupils and candidates, which are attributes of wor- thies. — Phonetic series 218.
Filial piety; the thing which the -f—
Hsiao‘. g mA children owe to the %& aged persons in general, and to é, Y their parents in particular; $e By 3 Ae we, MA MF. fF 3% — Phonetic series 276, But 3% chiao!, to teach, has nothing im common with x.
This character, whose exact form is given here, will be explained L, 39 H.
Ché*, This character is not derived from 3%. See L. 159 B.
LESSON 31.
About three derivatives of J\, partial primitives, viz.: A chiu?, AZ chih?, 2 sui!. First series: %.
Chiu*. A man hindered while walking, by a kind of - IA train; 4 WDA A(R. BW A Hit &
\ dB SF, Hence the notion of slowness, of duration. — Phonetic series 17.
Second series: Xl.
"RR & 3 A al 5K 9
ia AS
ie
Etymological Lessons. 34. 89
Chih:®. To follow, to pursue a man who walks; #f§ fh BWR AL. \ HO, — It is the 3ath radical, ordinarily placed on the top of compounds. It forms
Ko?. To A go on one’s way, without hearing the I} advice of others; 4 fi 7 #8 BE th. BR ALL 1, @ 3%. Separated, distinct, particular, other. The individual described by his self-love, his own way. — Phonetic series 220. It forms
Chiu’. A man /\ attached to his # own opinion, - who cares only for his own interests, aud who consequently offends against others. By extension, offence, fault; A NA BA. BOS FH HG HB a. See L. 28 I. Note the contraction of the modern character. — Phonetic series 338.
Lut. Way, road; KM AA &; through which & each one Jp trespasses. — Phonetic series 748.
K’o!. Chrieh*. A guest, a traveller; A, BR #®; to stay for a time in a+ house not 7 one’s own. Liao‘. Boundary that % divides the fields. Ghuan- chu, to partition, to shorten, a little, etc. It forms BF liao’, to lay down, to depose.
aot. Old meaning: a trench to irrigate; yy water used by % everybody. lt forms 7% lao‘, the fall of the leaves, to sink.
See #& hai!, L. 97 H; %& féng! L. 97 A; and & tung! L. 17 F. The 34th oe A chih’ (three strokes) must be carefully distinguished from the 66th radical AZ p'u' (four strokes), and fromthe 36th radieal 47 hsi#.
Third series: X%.
el ans ZN
—
Sui'. A man who goes on, despite of shackles: fF
ike th. oA i as A Bi ie z JE. To be distin-
guished from analogous forms, as stated above. — It is the 35th radical, ordinarily placed at the bottom of the compounds, It forms
12
BL LR
5 ik 42
Etymological Lessons. 314.
Chih‘. To % reach or make others reach = the aim, despite of difficulties; AA SMA =. tF FH- See {. 183.B.
T’ui’. To have # walked with difficulty all the day fH long, and consequently, to refuse to advance more, or to go backwards, on account of the difficul- ties of the road. To refuse, to retreat. — BH 47 UE KA ABR RH. The ZW addedis a
radical redundancy (L. 412 E). Note the contraction of the modern character, and
read again the note L, 26 See 4 L. 29 BE; 3 L. 79K
x inverted, forms
Dads otf
O. — Phonetic series 578.
; BLL. 38 D; ete.
Kua‘, To overcome an obstacle represented by | ;
AK ix de Be. BE AG wh, The modern character * kept the old form, Phonetic in pf ko‘, a pot.
straight and inverted, forms
oP
| Clvuan?®. It is composed of 4, the straight and the inverted form, back to back; BA & JE Se aa 22, ‘- To go in contrary directions ; opposition, coutra- diction, offence, error; Sf GE Wy Compare L 27 G. -- It is the 136th radical. In, the compounds, Ait represents two meu back to back. Note the following
: Wa’. A ‘dance with gestures, performed by two groups opposing each other (See L. 65 D); Sf the
dancers back to back, 4 a phonetic contracted (L.
10.1); 9 hy. FL EE A BP OAA Sok ee,
ay Chieh’. Primitive sense: 7
ae 4 tree, on which criminals were hung, #4 back to back; the
gallows of old. This character now means a roost, for
fowls to rest on; $f& BE AL AA SE AE 7s EE, Or HE, Mk
5: (R, — Phonetic series 518. It forms the following
» Shéng‘, ch’éng?. A warriors’
KK ee car, a sort of roost for men standing back to back, on two
ranks; the top represents a roof. The modern form does credit to the ingenious scribes. — Phonetic
series 5412, See also ##, and FF L, 126 D; ete.
Etymological Lessons, 34. 32. 91
‘ Chiang* From 2%, the straight and the inverted
Fosilg & form, one above the other: BRA ef 4a a, FO, Ak 4, Two men, one of them (the inferior) is subject to the other (the superior). This charaeter is now Written, and the pronunciation is different accor- (dling to the two differentmeanings. Hsiang#, to subject, to submit (the inferior ). Chiang‘, to descend, to send down, to degrade, to grant (the superior). — Phonetic Series 182. — | contracted is phonetic in f lung?, L. 79 F; sf being reduced to &,
ep)
ay Another form of & straight and inverted, one above
te the other. It is found only in the compound
Weil’. Refractory opposition: two men who. pull at 5 the same object in contrary directions; #q #4 4h. 2A
REO a , (L. 74). This character is now
wriltea #. — Phonetic series 487. See #¥ L. 23 F.
LESSON 32.
About a peculiar form of J, shib!, analogous to F, which was explained L 380A. Shih‘. A seated man. The living person who an- A P ie ciently represented the dead; by extension, a dead person. The Glose says: The sous, not seeing the de- ceased ancestor whom they worshipped, invented the FF to impersonate him; Fy,
EHF SST MSIE Rob 6 Mor Fi Et. —
It is the 44th radical of characters relating to parts and positions of bodies. It forms be Shih‘. Corpse; Fi a man, %E dead (L. 26 H).
Je NiZ. Two men near each other (L. 26 F).
T’un2. The lower part of F! the body; the part seated Re JL (L. 20 A); JU represents this part; KA ALF or, E\L@RAZS TRE 46 I i &. Hence fx tien’, the flogging on the buttocks (L.22 D). Instead of F{, the scribes write 4E, which makes one
more false character.
92
Bg 4
Etymological Lessons. 32.
FE. It is composed as {— (L.2 B), the feeling that must bind man to man ( = two, F! men). Is phonetic in
Wei. To smooth cloth, the 3 hand holding a 4& hot iron. By extension, to make even, to sweeten; A B. BATH KU th ee. ez dh, [t forms #E wei', to soothe, to console, to iron the wrinkles of j% the heart. Note how the scribes changed 4x into Jy, and & into =} BY. (ae + TF Ey, — Phonetic series 658.
Chii'. A place, a spot, an abode. Etymologieally, A aman who found JL a seat. [ts composition is analo- gous to that of 7, above A; Be 44 3A FS IL if JE. @& %&. This character was arbitrarily changed by the scribes into JE; AA Fl, iy eB. Compare L. 20 B. — Phonetic series 345.
’
I>. Wei®. Tail. The 3% hair at the end ot F the hody. Contracted into /*, and sometimesinto FS, FE forms important compounds (See L. 100 B), The Shuo- wen tells us that the old Chinese put on a false tail, in order to be as beautiful as animals; RB &
PR@RARKRwA A RM hh RE.
Sui'. Niao‘. Urine, 7 water coming from under the tail, for FU is F contracted.
Shih*. Excrement; the residue of 3€ grain similarly ejected; FY is FE contracted. This character is a mo- dern one and superseded the old B@. See L. 122 C.
CWih®. The span ofa Fl man, ofa male adult’s hand. This span was, under the jj} Dynasty, the unity of leugth and measured about twenty centimeters. The FY grew longer, after that time, up to thirty centime- ters. The Europeans call it a foot. In China it is a hand; -+ sf dbeAA FM ZAR BE, The Z, (L. A), says the Glose, represents the opening of the hand, from the thumh to the little finger, See sf (L. 45 B). It forms
Etymological Lessons. 32. 33. 93
Chii’. To fit up, workshop where things are fitted iy ia up. This end is obtained by using both mouth and FR hands (span, used for the hand); AR IAA Re oS FALE OP LP BB ZS. — Phonetic
series 266.
Wut. Abode, lodgings. Place where a man Fl being Jz & arrived 48 (LL. 133 B), takes rest. fE di, AA Fi,
BEE DAR EA BE AE a, Compare =i
(L. 1383 B), which is a synonym. — Phonetic series
490. It is contracted into 4 in several characters; for instance
ia Lou'. The rain jj passing through the roof of a > house FY; to leak; fe 2K PY , RM HP TP. @ & i B. B &- See L. 125 B.
LESSON 33.
About the two primitives, and =. First series: “x Ch’i'. Seven. A numerical sign, without any other signification: [') $8 a, AS HE BR It is radical in BL ch’én’, second #f teething, about the age of seven
4’ years. It is phonetic in BK ch’ih‘, to cry out at, to scold ; and in
Chiieh', To cut; JJ knife, L. 52. — Phonetic 9 i”) series 43.
Second series: =.
Vo". A partial primitive. It represents a small plant B ty E sinking its root into the ground. The ground ---, the root beneath, the stalk and a small ear above; # 4h,,
Me RE R—. PF A RB. GB. — Phonetic
series 29, It forms
Chai2. Habitation, abode; f& ay, >, ABE. Ea 4 Jeo The place where a man -€- takes root, fixes his “+ dwelling. — Phonetic series 177,
94
Etymological Lessons. 34.
LESSON 34.
In this number we distinguish the series of two primitives, J and >, wantonly mingled together by the scribes, and mixed up by K’ang-hsi.
First series:
TH
2 jal
ae
wh Ft
tr
Ks
Chiung?. The suburbs, the country, the space. The two vertical strokes delineate the limits; the horizontal stroke represents the interval between them, the void
space; f Sh 28 2 TJ, Gom Bw. — It is the
13th radical. Note the derivatives
Chiung?*. A synonym of the preceding. The representation is more explicit; [J] (L. 74) delineating the walled town in the middle of the country. — Phonetic series 144. The derivatives of fr] are to be distinguished from those of [MJ (L. 76 G), e. g. 3 chiung?, to go in remote places; 34 hui, to return. Distinguish also |r} chiung® from jay hsiang* and {pj shang’ (L. 36 E); from fy o% (L. 15 C); from Fy chiung® (L. 42 B).
Nei‘. The interior; to enter A in a [J void space, in the interior. This character was explained L. 415 C. Note how in the old form here joined, [J is already mistaken for - (34 H), while the Glose gives the true explanation. — Phonetic series 74.
Shih‘. A market. The W grass-grown [J space out of the city, where people go and get \ (L. 19 E) what
they are in need of; Bo PR SUL BT AG
4
XR. & WA wa Te th, Y (L. 79 B) Ip 35
‘This character has nothing in common with iB (L. 35),
under which it was erroneously classified by K’ang- hsi. It must be carefully distinguished from. TH fu4 (35 B), and from jf; fei# (L. 79G). There are a few insignificant compounds. Note the logical aggregate Fe] naot, to bustle; 4} (L. 14 1) to quarrel as in the market place jf7; the noisy wrangling and confusion of a market, so dear,tojthe Chinese.
Yin?. To go away, to withdraw. A JL man who walks in order to go out of a [J space; 77 FAK A ii (J, € wR. — Phonetic series 94, Not to be confounded with JE jung?, L. 29 J.
Etymological Lessons. 34. 95
- Hao‘. To rise up, high. A bird 4 that rises up in the [J space; AR fE E, @ Hi, @ 3B When
this character is not well engraved, one might believe it is topped by a + (L. 36); in reality itis the J of - the left side of #£, that crosses +, just as A crosses ‘> in the preceding, — Phonetic series 531.
# He, The six ~{ Chinese hours (half a day) during which the tT] space is in darkness, the ] sun being absent. — Phonetic series 553.
G Mea ae Ming?. Obscurity, darkness; KA [J, BA AVR HK, 4
Note. One may see how, in the modern forms, | J and + are absolutely mixed together.
Second series: —.
MiP. To cover. A line that falls at both ends, to cover;
B | a { \ ja OBA FP ER Fo — It is the 44th radical of a few characters meaning, to cover. Note the following derivatives
igi Mi?. A trivet Jf covered +> (L. 127 D). Tee Kuan’. To cover +> the head 9g; a cap, See L, 29 H.
Yitian' Ill-use without motive, wrong, grievance.
Re (F3\ Etymologically a rabbit 4 (L. 106 B), trapped r. Y = 3 EP eet A
s I Hh LS Fi rt BF Fun (ea SE, fF eo it forms
a few insignificant phonetic complexes. This character
is sometimes wrongly written %.
~ is met, with the meaning of physical cover, of moral blindness, in many characters, e.g. BL. 126 F; $e L. 154 B; Se L. 72D; 38 L. 39 1. But the following are derived from Fy (L.. 54), and not from +, as the modern form might induce one to believe, ¢.g. ae L. 69 G; FR L. 167 C; ete.
-- -<¢-
96 Etymological Lessons. 34.
Mao®. To cover [J something — (L. 4, 4°); # 445 WK -, — 4 &, It forms
T’ung?. Agreement, union, reunion; 4 4h, BR FU AA 0, &. The primitive meaning is: adaptation of a cover [-j to the orifice [J of a vase. — Phonetic series 246.
ao @D
Chiao’. A cover Fy with flowers W (L. 79 B); ibe Hi, Got AY YW E By 4h (vegetable objects; compare L. 1021). By extension, the shell of mollusks, of fruits, of eggs, that FY covers them, and is orna- mented with W fine designs; Hy 27% A ZE dh # HA. & Lik BH Z, In these last meanings, this character is now written chia-chieh 9% chiiao', the primitive meaning of which was to strike. This cha- racter forms the phonetic series 517, in which the radical is placed under Fy contracted; Oi
ay By Ayu I By at
AX BX ave Fx BK FX The scribes and the engravers often forget the small stroke of FY. On the other hand, they fancy the
different writings 53 3 @, ete.
BE BE Dk
= Méng?. To cover. Its composition resembles that of
Ea %é, (L. 34 H), a boar Ze taken ina FA snare. KA A,
BKK, EE. lt forms BE méng?, the wistaria, a
— trailing plant that covers; to cover. Phonetic series
ee) 784. — The character 3¢ méng? is to be distinguished from 3% chung’, L. 69 G.
-»- -¢-
— Mao*. A covering forthe head; that which FA covers —
J F) fA the head (L. 1, 4°); BA AAA —. 46 BL & a,
It is now written fi — The scribes write = a a= ie
so that the derivatives of =I mao* cannot be distinguished from those of 3 yiieh!
(L. 73 A). Still improving on the seribes, K’ang-hsi, after having classified, under
the 14th radical +>, characters that do not belong to it, placed the true derivati-
ves of »-, the whole series [=, under the 48th radical [ J. Such is the value
of classifications based upon the modern characters, altered or mingled with others, — It forms the compounds.
Etymological Lessons. 34. 97
Mao‘. To rush on heedless, to act with the eyes A covered FJ; imprudence, temerity; = i aa i, BA BAA Bf 3. — Phonetic series 462. Itforms the phonetic complex
¥ al Man?. To offend by & headless
3} action. The { of & is bent
~~ =\ (L. 158), togive room to 3. —
Phonetic series 635.
T’a?. Birds of passage flying in flock; swarm of 7]
wings Fj covering the sky; 9& Be GE BA WBA € -&. — Phonetic series 574.
Chou, A helmet, the Fj headgear of soldiers; —& (L. 154 A)is phonetic; AA Ey He FE YL. Not to be confounded with the character §§ chou? posterity, that is pronounced and written in the same way (L.65 B); neither with ff weit (L, 122 C).
Mien®. Official FJ cap; %@ mien? (L. 106 A) is
S&S
phonetic, Compare $% yuan!, L. 34 H.
Tsui‘. A meeting 9% 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
K THI
es
important compound, though it appears seldom, the modern scribes having changed [fy into FF.
YVén'. Disappearance, loss, absence. An object that was at one tine ff (L. 159 A) in a St store, and became invisible fj (a double cover) later on. BA
MAR KRG Bre He rE EE x {fl Bg ti. See L. 23 G. Note the phonetic complex
Pien’. To walk on the edge of a precipice, running the risk of falling into it and disappearing. Chuan- chu, bank, edge, margin, a boundary in general; #7
ie DA 28 OF Bo 43
98 Etymological Lessons. 35. LESSON 35.
About two primitives nearly identical in the modern writing, [fj chin’, and ip
liang?, with their derivatives.
First series: [fj chin’.
Chin’. A small piece of cloth resembling the Euro- A 1p an 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. lJ represents the two extremities of cloth hanging from the girdle; | represents the state of suspension; fm [J Hi. A. | th, — It is the the 50th radical of characters relating to cloth.
Note. The lower part of some ancient characters, v.g. AC L. 119, & L. 92, accidentally resembles ri. Note also that fff (L. 79 C) has nothing in common with [{j. But fm (L. 24 D) is derived from it, as are also the following characters
Fu', The cloth worn by the ancient Chinese, a kind B no mh of skin apron hanging from the waist, down to the knees. It was preserved as a souvenir of ancient custom in the Imperial dress... —« represents the girdle, [J the piece of cloth, ] the hanging of the same; F 7 4 BR IK. 96 SU RE Bh HE 4 KO. ii Kit ROL FE KR fF Fe Fi, Compare 7B tai! (L. 24 Q), the construction of which is analogous. Note. The modern form iff is used for three characters that must be carefully distinguished; ;{j shih* market, L. 34 D; j{j fu4 apron, L. 35 B; fj fei* vegetation, L. 79 G, that forms the important phonetic series 45, whilst the two preceding ones have only a few derivatives.
the ancient Chinese did not know of cotton. At the bottom fj, on the top 4 fut (L: 43 G) as phonetic. AK il, Rt GE A A. (Lo Chuan-chu; to spread out, to display, to explain, etc. — Phonetic series 452.
D ‘ a Hsi'. The interstices of a woven material, between an the crossed threads (L. 39 G); BR ff, AR 3, ff, Chuan-chu, loose, not close, thinly, scattered, infre-
quent. Different chia-chieh. Now fii. literally Fe grain # thin-sown. ~ Phonetic series 275,
Pu“. A piece sf cloth made of hemp, nettles or dolic; Oy
Etymological Lessons. 35. 99
E 4 Chou’. A dusting-brush. See L. 44 K, Li Shua'. To 3 wipe one’s Ft body with a jij rag; to hin wipe; BR 4 AA AA Ae 3% It is contracted
in the compound
Shuat, To scrape with JJ a knife or otherwise, to } iy) scrub, to cleanse; Ai) 4. di 4. AA TRY | .
+73 JIN Pi‘. Rag, tatters. A ff} piece of cloth riddled with B ( JAX holes (L. 18 A, division), K’ang-hsi erroneously gives eight strokes to this character, instead of seven.
WG EP ANH eS EL
eS We He ct FS He K, li forms the homophone
and synonymous compound
yi Pi‘, in which & (L. 42 D) re- Ae ( presepts the physical action that tore the ffj cloth into fy shreds,—
Phonetic series 644.
Chih®. It is also derived from ff. The top is 3% G ~ ~ contracted (L. 102,1), boughs, foliage. fff cloth that a has been pierced with needles and so 3 flowered.
Leaves were the first designs used for embroidery; WS
AE 4h. He Be tt. — It is the 204th radical.
Second series: /{ liang®.
Liang?. It represents scales in equilibrium. This H TF) Mm character is now obsolete, but forms important compounds in which its primitive meaning 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; A A (to enter-enter (L. 15), means that an equal weight was placed on both sides; 3% Z graphically
represents the same thing. Ete.
400
K &
Etymological Lessons. 35.
Liang*. Two weights equal, state of balance; (#,
HE % Jee & A Jb. Hence
Leang?. One ounce. This character is of modern origin. The — Jevel beam, is a graphic redundancy. In the sense of two, this character is chia-chieh for the preceding. — Phonetic series 376. The scribes mu- tilate jj in different ways, as may be seen here
Tsai‘. A second = weighing J, equal, to the first one. — on the top represents the horizontal beam. Twice, again, repeated; BATH, AA =, & He, St 2 i) A.B BZ i] BF, — lt has nothing in common with Hh. L. 416 A.
Ch’éng!. This character is formed like the preceding; but instead of — a beam, there is <> a hand that lifts the balance, in order to let it oscillate; 7 represents the equilibrium of the two scales. Bh BA jt, ZA —, fF HH, To weigh, weighing,
scales; now Ff. It is often written fF by the scribes.
Erh®. Symmetry, harmony of proportions; Be f&
HBR {Bk S87 HEAR Ho A “fy balance loaded “% equally on both sides. On the top, AX érh (L. 18
DU%
O) is phonetic. See L. 89 N. Chia-chieh, personal pro- noun, thou, you; HE ES Ze Bee FE Mote Be It is often incorrectly engraved. The right form has ouly 14 strokes. — Phonetic series 776.
Man?. Before the equilibrium is perfect, the Jj ba- lance “YS oscillating hither and thither. Compare L. 103 C. BA YS. 45. FR. The vertical strokes of the two elements are united. The modern scribes com- monly write +4 instead of 6. It forms
mAh
iy
About the primitive >.
{|
Etymological Lessons. 35. 36. 104
-Man?. Equality, equilibrium; 2B BA AA OM,
@ . Compare L. 35 1. — represents the level beam. — Phonetic series 636.
Chien?®. The cocoon of the silkworm: from silk, 4! the worm, fA the regular form of the cocoon; (Ft %.& K wy. The modern character is placed here purposely to show how the engravers transformed
teary te
LESSON 36.
Mien’. It represents a hut, a dwelling; fe 4, JG. — It is the 40th radical of characters relating to dwellings. It forms
Sung‘. A hut 4+ made with Ag wood; RA, BR Ae Me 4h,
Vang*. A cave-dwelling +, in the 4 rock; BA,
BK A. ili HR
Tsung'. An ancestral hall; & ji] 6j oR >, BR a. & F&. The building + from which emanates 7; (L. 3 D) the influence of the deceased ancestors over their posterity. By extension, ancestors, a clan. — Phonetic series 404.
Ning?2. Rest, happiness; the jf heart of man being satisfied, when he has a shelter anda fall J] dish, board and lodging; # a. BA >, AA thy, FA DL &, It is found contracted in
Ning?. That which one ff is in need of, to enjoy
rest; Bi i 4. AK FY, AT He The MM of
was replaced by }fJ, The scribes often write incor- rectly $f.
Etymological Lessons. 36.
Ning?. That which one aspires lo Fy, to enjoy SF peace. To wish, to prefer; peace, to soothe; jf jn] HL. BR A. KM Si The modern writers put J (L.57) instead of FH (L. 58), out of respect for the
etymology. — Phonetic series 785, under the modern form &. — This character was specially ill-treated
by the scribes. See, underneath the right one, some wrong ones invented by them. Note: ¢ lao? is not derived from “>. L. 17 F.
Second series. In some modern characters, instead of being contracted into ++, mien? kept its ancient form. Only the dot which represents the top of the roof, sometimes slipped to the left, and was changed into J . Examples:
See L, 123 F.
Hsiang‘. Asmall round window © in the Northern wall, under the roof ++, for ventilation; 4B Jie 44, BS BR TL. PE Ff, The © is the representation of the small window, and not {7 the mouth, 30th ra- dical. Ghuan-chu, to face, direction. — Phonetic series 200. To be distinguished from the series 122 [pj chiung? (L. 34 B). It forms
Shang’. Has nothing in common with dy (L. 48 H), under which it was classified by K’ang-hsi. The vertical stroke is the top of - protracted; the two lateral strokes are 7\ (L. 18 A), division, separation; AA PA, {ho Z Ap Pie a , The crest or ridge on 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, ete. — Phonetic series 591, in which fj placed above the radical, is contrac- ted into 44. In composition, fay Means a roof ora house.
Ch’ang’. To knock -& (L. 43 D) ata fay house door, to open. — Phonetic series 663.
ee
Ang
BY Ho:
00:
FO
a Re
ae
i
Etymological Lessons. 36. 103
T’ang®. Dry and even ++ soil undera $j roof. A hall, a meeting-house, a court. — Phonetic series 649.
Tang'. Value of a fy field (L. 149), or of a Te house. To value, equal to, to compensate, to match, convenient, etc. — Phonetic series 763.
Tang’. A house jig which is 5% smoky or dark. A poor hamlet. To club together in darkness, secretly, a cabal, a conspiracy. — Phonetic series 857.
Ch’éng'. To give feet (L. 112 B) toa fj house, to prop it up. The scribes altered the ancient form. — Phonetic series 666,
Shang}. The flowing garment ZX, robe, which co- vers the lower part of the body (L. 16); BA 4, fig HE.
Shang}. To bestow as a reward | cowries (L. 164), the money of the ancients; BA El, fy BE. BY AP Th
4. It forms {§ ch’ang?, to pay, to compensate.
Chang?. The palm of the = hand. Chuan-chu, to grasp, to rule (L. 48); BA =F, fy Be,
Ch’ang?. A banner ffJ used to head the troops (L. 35); bence chuan-chu, rule, constant way, con-
stantly; BA Jl, fe
Ch’ ang?. To think —F something good, to taste (L. 26K); WA &, fg #E. Chia-chieh for the last. It is often engraved incorrectly.
104
About %¢, derived from the
Fs os
E
Etymological Lessons. 37.
LESSON 37. |
primitive “+, explained in the last Lesson.
Hstieh?. a,oBh +, WK 7\. A space obtained by the 7\ removal of rock or of earth; a cave, a hole a den. — It is the 446th radical. Phonetic series 125. It forms
Tu‘. A ® dog (L. 184) that rushes headlong out of its Jt kennel, to attack an intruder. Chuan-chu, impetuousness, suddenly: BA KK, AAR, FF FR. K BAR eB OH ab,
Ts’uan*. A rat fl (L. 139) in its 3 hole. To hide one’s self, to conceal one’s self ina place of safety ; F&
aL BA Gt ZTE Pacts, #3 FR. — Phonetic series 843.
Clvuan! To bore’ Be with the teeth JF (L. 147). To perforate, to run through, to put on; 3% AeA BA Ry. BE.
Wa’. A hole, to make a hole as the robbers do when they pierce through the walls; AA Xt, Z, BE (L. 9B). S iB 2M RAS BE. Mt torms Pe wal, to dig out, to scoop out, to excavate.
Clviung?. A man J, (L. 28) who & looks (L. 158) out from a ¥ cavern, to & hit (L. 43 D) or to catch. To be on the watch for, to spy, to expect, to covet. it is often altered, as are all the intricate com- pounds; BK BRA ER EL. @ Bw th. HK ,, lt forms the phonetic compound $M ch’iung?, a precious-stone. It is a radical contracted in the important compound
Huan‘. To exchange, lo change; BA £3, KB By io To pass an object from one hand to another, while # examining it attentively, to avoid deception. Now #. Note the contraction of F} into 7%, in the modern writing. — Phonetic series 454.
Chai®. In a confined space, narrow, as when one is “E crouched down in a Bt hole, See L. 10 F,
* Etymological Lessons. 38. 4105
LESSON 38.
About the three primitives: [_] k’an3; ch’a', and kung!, wipelt are both written
J, in the modern way,
A Note: Two other primitives, i3 (L. 8
y
5 B) and ssa! (L. 89) are also written
J,, in the modern tuntiing hand: so that J, ‘is used for four ancient primitives, which fact does not, make the matter cleareré
Tirst series: [|] kan’.
A
Wan*. A hole in the earth, a pit; He We Heh 4, — It is the 17th radical. It forms
K'uai‘. A clod, a shovelful of -& earth; there is a hole [_J, where the earth was removed; a furrow, a trench; DA 4: — Gj (A Je. It forms jj chieh*, often incorreclly engraved a: a man FF (L, £2) siltling down on the trench which marks the limit of his property, and thusasserting hisdomain. Boundary, limit.
Wsiung!. This character represents the fall
(L. 89 B) of a man into a [J pit; (R, He A, by re aly div Si, Ghuan-chu, an accident, unfortunate, unlucky. — Phonetic series 62. Note the compounds
Hsiung!. The thorax, the $8) (3) breast, the heart, the affections. [XJ concealed in a man 7J (L. 54). —In the second form,
4 F] Jj (L. 65) represents the flesh enveloping |X{ the interior. For, says the Glose, it isin the a that the [Xf evil is
conceived; F GVA AE Ba BAW
Phonetic series 206.
Hsiung!. A man JU (L. 29) under [Xf evil oo contemplating or doing evil; AA A £ IKI , It forms ibe phonetic complex
r= Tsung!. i. move, to shake; a BR, Bl ee (L. 31 Cy). — Phonetic series 483.
Histi. Mad [XJ with drink PW (L. 41 G).
14
406
Etymological Lessons. 38.
Second series: J, chi‘.
A OU
Clvii'. Basin, porringer; FR Be ay, fH. This representation is found in more intricate characters designing different vessels. e. &.
; | If d i JIN |p Raye ANE L. 26 C.
ey An empty vessel and its cover; AA fy, de aL. TR Ee The top.resembling -- in the modern writing, and 4 in the old one, is a special primitive. Chuan-chu, to empty, to remove, to lay aside, lo leave; ideas coming from the removal of a vessel's cover, and of ils contents. Compare below ZY. — Phonetic series 419. It forms
Tiu!. To lose. Falling down J and disappearance
# of an object; i J BA 4. HK. Compare . 48 B.
Chiech?. To prevent by Jy violence (L. 53) a man trom J; going, as the brigands do; J. BL Wy Jk, A BoB Wy, BM J, fF 3%. By extension, coercion, Violence. The scribes often write 3, which is a wrong character. The philologists refer to HH, a contracted phonetic, the compounds of 3: in ieh, as #}e chieh', etc.
The same cover, upon a different vessel, may be found in the ancient forms of the
following characters
G Fa
Hu’. A pot, a jug. The representation of the vessel isa primitive, On the top, the cover. BT 32 ah. @ JEFA As GH BE a, It has nothing in common Wilh at ya‘, L. 82H. Not to be confounded with me k'un’, £. 15 A. It forms the next.
+ A'. A kind of ritual vase of old. SS eS This character, now obsolete in the primitive sense, is used ins-
tead of -= one, in casting up accounts. See 24 C, and 38D. Fe was the TH auspicious vase; was the IX]
inauspicious corresponding vase.— Phonetic series 690,
Etymological Lessons. 38. 39. 107
Ay -Ho?. A dish filled and its cover. To fill, fo cover, 1 This cover resembles the cover of %, the vase being represented by fl (157 A) instead of J,. In- the
vase, — represents the contents (1. 1, 4°). FE ah,
AK RB KA HE IBAA —, fil fy a ES BE,
} f£ #. In the modern writing, the seribes contracted the cover and the contents inlo J, thus forming an illogical character, for itis made with one cover ok and two vases, J, and fff. It is often chia-chieh for #, an inlerrogative particle; 5 ser oS Mle carping 24 H y i
#5 ZS dal. — Phonetic serics 532, under ils modern form. Note the compound
pas is EN i= Kai’. A AS roof made with +44 coarse grass used for | Ini. IL
thatching, lo put a roof on, to conceal both literally and figuratively; a cover; PY a off Sh ULE ALBA il, BA AS, FF 22k. The mo- dern form #7 is admitted by the critics, but 34 is av unauthorised character,
Third series: J, kung!.
Kung!. liwas at first a rudimental representation II 2 a of the arm beut; fy WW (Ge IWoNy a. Then the band F- (L. 46) was added. The latter forms the phonetic
Zz ; >\ series 69.
LESSON 39.
. ite ae i imifivas CSaries s Yd)» About the character %, which corresponds with lwo primitives (Series 4 and 2);
and about its mulliples (Series 3. 4. 5.).
First series: % wa’. A represents, says Lhe Glose, FE fF the five elements( four sides and the centre; compare + L. 24 A). Laler on, two strokes were added, to represent heaven and
YX Wu. Five; a numerical sign, JY f Be, It
earth, and thus was formed c “r se >p > ft Wut. Five; 7. L.A OE OE KO Tale X The two principles yin! and yang?, begetling the five elements, belween heaven and earth. It forms x We. An appellation to design oue’s self; 1, my, me;
ie A fi HAA A, BH BE Phonetic series 316.
Be. &
108
second series: & i’.
Third series: Two %,
character
Etymological Lessons. 39.
I‘, This character is intended to depict the blades of shears; aclion of cutling or turning; aclion or influence of any kind. It is formed of two J (L. 7 C) intercrossed and jointed; KA J \ 4u Be. & He
Rl Hi aly To cut grass, to mow. Jt is found in
Shal. To cut % an jf ear. See L. 45 J.
Ifsiung!. To roll down > intoa LJ pit. See L.88 D.
side by side, represent the meshes in the important
Wang’. A net; to throw down the net, to entangle, to catch. It is derived from --.covéring (La 34 HY; and YX representing the net; RA > FR 46 1, RO TE ALL HW, — Ut is the 422th radical of characters concerning “nets. The scribes aller 4J, so that it may‘ be mistaken for bent down py (L, 458). It forms
Wang? To carry off (3 by a cast of |) the net (L. 40 FE). By extension, disappearance, absence, negation; compare Jab (L. 101, J). The seribes wrote f) in such a way that it resembles the 469th radical PY. — Phonetic {series 408. Not to be confounded with the next
Kang!. The culminating point of avmountain {ff (L. 80), covered PR} by the clouds; I] ZF ai, The Glose rejects fj as being a graphic redundancy, and ie as an irregular form of ft,— Phonetic series 866.
gives
Chao. To take a bird ff (L, 163) in a PR net; BA SDK i. Hoe BO RIE BD,
Lo?. To cateh birds witha i nel miitle with sf threads (LL. 168 and 92). — Phonetic series 845.
gto 3
Etymological Lessons, 39. 109
Li‘ To blame. To entangle By a Culprit,-in the reproaches (L. 73 €) addressed to him; AA RX, BR Bf BM) BA :
Fa’. To punish, a penalty; A JJ, BS, BR, tailings 2 and corporal’maimings inflicted witha JJ sword (L. 52).
Chil+ The Glose explains this character: as follows: to procure the delivery of a jf just man (L. 40 K), fallen into the net [XX) of a slanderous accusation; JA PX), AA J.P FR Chuan-chu, to procure, lo dispose. Pa. To dismiss a #8 mandarin, drawn into a [RR] snare. To cease, to stop. See L, 27 J.
Fourth series: Two X superposed.
a)
~
I yas
Yao?, Mutual action and reaction 2 a (L. 39 B); influence; symmetrical disposition, net-work, ete. — It is the 89th radical. Note the form of 2% on the top of the compounds.
Hsiao?’. To learn, The disciple F (L. (4, impro- ving under the influence 3% of the master; Gy 4 2 BW, See below Kt. — Not tobe confounded with 3 hsiao*, filial piely, L. 39 E. — It forms
s ne To teach. Here the L 43 D) ferule is joined to - ee s influeuce, for the for-
mation of the ¥ disciple; £ wy i, PF Pr wea. Mx 5 a, a BK fF. ieho
Hsiao2. To learn. This character is more explicit than Z& (above H). Both hands £4 (L. 50 A) of the master, rf acting from above upon the darkness which covers sei the mind of we the disciple. Pe dit, BR EA, Bim, Fo - wg oh. = Phonetic series 733, under the dontraeeee Me BY, f always giving place to the radical. Note chiao", lo percei- ve, to feel, Which forms some insignificant compounds,
110 Etymological Lessons. 39. 40.
>.3 3 rao%. Meat PY, cul up %& and made ready according J 45) wD to the rules. — Phonetic saries 412. Ifsi!. Interstices of any material, between the Kx Ar A intercrossed 2 threads; loose, scarce, etc. See L. 35 D. — Phonetic series 275. x Fan. Fence, hedge-row. From two Ae trees, bound L BR ih and interlaced 2, lo forma hedge; KA HH, & F > {oe Wi i BE CE AE a. See Hk, L. 47 Z.
4 Po?. A horse Bj (L. 1387), 2 duppled, spotted; F§ u ey i HK Al. Hi EA EY By extension, to find fault with, to criticise, to censure, to refule. This character
is often incorrectly written Bz.
Fifth series: % repeated tour times 38, representing symmetry, meaning action, in the fallen
#4 Ble Erh®, Harmony. See L. 35 L. — Phonetie series 776. ae (8)
Shuang’. A man Jo (L. 6) acting 2% ge both x t 4 g x1 arms; active, alert, cheerful; BR 38, KA KK, FF FE
Phere are different chia-chieh. Couipare 13 B, 4 Tah
SISSON 40.
About the three series Ba fq Rl, including tive primitives, Virst series: ff hsin'. - Be Thsin!. The skull, the cover of the brains Ee 3 ce Alt, | {$, In composition, the head. It is often he in the modern writing, so thatit resembles Ef] (L449) Itforms Pi. The vavel, which is supposed to be in commu- yt. ‘S nication with the head px, through JU duets in Which = circulate the vilal spirits. See L. 27-1 — Phonetic series 557, ;
tay bes H Fw
> Sub-series: {4 hsia', which is oflen engraved by the modern writers {&§ op {5
Etymological Lessons. 40. 441
Sst. To think; BK Wy. AA 6. FF HR. OR th 5h HS teh, ak BA Lx], When one is thinking, says the Glose, the vital fluid of the y%y heart ascends to the ix] brain. — Phonetic series 477. It forms
> EG. To meditate; PE RR wb, Je A FA 3 BE. Phonetic series 807.
Head jxf and FJ hands. It will be explained, with ils important series, in the L, 50, MN OP,
Hfsi*. Tenuous, slender, like a thread; BA SL 92), AA [x|. lt may be that the primitive sense was hair, the 3% filaments that cover fg the head.
@
i @ Hsin‘. The hairy head; tht 2 aL. (@, tk dk S2 dy. This was first a special primitive, representing the hair raised up and knotted in a tuft; then the [xj was covered with hair (L. 12M), The engravérs often culling Aq instead of x. the