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(Chino) Z - Chinese Characters - Their Origin, Etymology, History, Classification & Signification - Wieger PDF
(Chino) Z - Chinese Characters - Their Origin, Etymology, History, Classification & Signification - Wieger PDF
The end aimed at by the Author has been to analyse the an-
cient forms of the Chinese characters, to extract from them
their primitive constituents, and then to group them together
according to these primitive elements, in an order both logical
and synoptical.
The materials, figures and interpretations, were gathered from
the works of the Chinese epigraphers and philologues. After
having eliminated the useless characters, the Author picked out,
among the usual characters, 224 Primitives. Around these elements
were grouped about 1500 logical aggregates and phonetic com-
plexes, from which all the other characters are derived. Then
the whole matter was divided into 177 Lessons. A f t e r many ex-
periences, this disposition seemed to be the most advantageous
for study.
The Introduction is designed to furnish some necessary ex-
planation respecting the history, the categories, the analysis and
the different classificalions of the Chinese characters.
The Graphies are fac-similes of the oldest specimens of Chinese
writing cast, not engraved, upon bronze bells and vases.
The Phonetic Series, are a natural complement of the Lessons.
Two Lexicons showing the characters arranged by o r d e r of
Sounds a n d Radicals, complete the work.
The Romanisation adopted by the Translator, was according
to the Wade system.
L. Davrout S.J.
CHINESE CHARACTERS.
INTRODUCTORY.
I. HISTORICAL SKETCH.
Tradition ascribes the idea of the. characters to Fu-hsi, and their first
drawing to Ts'ang-hsieh, two worthies of the prehistoric age. The syste-
matisation of the Chinese writing, is attributed to Huang-ti, the founder
of the Chinese empire, 25th century B.C. Some texts of the Annals, may have
been written earlier than the 22th century B.C. — In the beginning, writing was
used only for matters of government and administration. By its means, the Em-
peror was given information, and his orders were transmitted to the mandarins
and to the people. The shih, recorders, registrars, scribes, were trained up in
official schools, under the direction of a t'ai-shih grand-recorder.
The oldest ku-wen graphies that have come down to us in their original
form, are traced back to the 18th century B.C. Their study reveals the fact, that
while their making was well defined, their form varied much. Towards the year
B.C. 800, the grand-recorder Chou drew up, for the use of the official scribes,
a catalogue of the then existing characters, and fixed their standard shape. Those
ku-wen are called by Chinese philologists chon-wen, or ta-chuan
greater seal characters, or k'o-toa-tzu tadpoles. The origin of the lat-
ter appellation is thus recorded, lo the 2d century B.C., when the house in which
6 Introductory — Historical sketch.
Confucius bad dwell was pulled down, old books written in ancient characters
were discovered in a hiding-place. At the sight of the big heads and the slender
tails, Hung prince of Lu who was not a learned man, exclaimed: these
are tadpoles!.. The name has stuck to them ever since.
As the decay of the Chou Dynasty grew worse, studies were neglected and
the scribes became more and more ignorant. When they did not remember the
genuine character, they blunderingly invented a false one. Those non-genuine
characters, copied out again by other ignorant writers, became usual. Confucius
himself made this statement. Towards the year B. C. 500, he uttered this complaint:
«When I was young, I still knew some scribes who left blank the characters
which they could not write; now there are no more such men!» Consequently
the ch'i tzu «odd characters» were multiplied without restraint, to the
great prejudice of etymology.
A few years after the catalogue of Li-ssu was edited, a new era was opened in
the study of characters. Two facts are peculiar to this change: an excessive mul-
tiplication; a gradual transformation. Let us briefly state the causes of these
philological phenomena:
Introductory. — Historical sketch. 7
\. Causes of the excessive multiplication of characters... First, the ignorance of
scribes who continually brougt to light faulty forms which were stupidly reproduced
by posterity ; then, the need felt to give names to new things. 1 he Empire was gro-
wing, learning was spreading; writing had become a public thing; the process
hsing-sheng (see page 10) being an easy one, all took to it. From this disorderly 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-ssu contained 3300
characters. In the space of two centuries, it was completed seven times, a nd
the 7th edition, published at the beginning of the Christian era, contains 7380
characters. Two centuries later, there were 10.000. Now the dictionary of
K'ang-hsi(A.D. 1716), contains 40,000 characters that may be plainly divided as fol-
lows: 4000 characters in common use; 2000 proper names and doubles of limited
use; 34.000 monstrosities of no practical use. We are far from the legendary num-
ber of 80.000 usual characters, ascribed to the Chinese language.
5. 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, chuan, greater
or lesser seal characters of all ages, there are figures of
every shape, round, ova), sinuous, the lines being all uni-
formly thick. — Not long after the catalogue of Li-ssu was
edited, Ch'eng-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 instrumen t
on a rough material, the rounded figures became square, the curved lines were
broken at right angles. But this ungraceful writing being quicker than with the
fountain-pen, the wooden pencil was adopted for public deeds, and the Li-
tzu or official hand, became the current writing, while the lesser seal characters
remained the classical writing.
As it commonly happens, the way being opened, inventions succeeded one
another. During his campaigns against the HANS, the general Meng-t'ien is
8 Introductory. — Historical sketch.
said to have invented or improved the writing-brush, the ink a n d the paper. This
invention was fatal to the characters. — A writing- brush cannot trace lines against
the hair, therefore m a n y characters could not be written and were replaced by
arbitrary and fanciful sketches. — The mate rials 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 o u t when pressed down, twists
when turned, projects its poi nt when raised u p ; hence the swellings, the joints,
the crooks, which are not intentional, but are due to the instrument itself. — Therefo-
re the actual classical writing chieh-tzu, represents the hsiao-chuan
as transformed by the writing-brush.
There is more. The writing-brush galloping, the strokes were connected up,
giving birlh to the lien-pei-tzu; then it flew, throwing on the paper mis-
shapen figures, which are called ts'ao-tzu. The fancy for these 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 Hsu-shen or Hsu shu-chung,
vulgo Hsu-shih, published the lexicon Shuo-wen chieh-tzu.
It was the collection of Li-ssu, controlled, amended, explained and classified
under 540 rational keys. The aim of Hsu-shen was to impede any ulterior altera-
tion of the characters, by setting their authentical form before the eyes of a l l
scholars. His book contains 9353 simples and 1163 doubles, which makes 10.516
in all. It was not less useful to the nation, the admirers say, than the canals of the
great Yu 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-wen,
Bat the work of Hsu-shen had a more far reaching effect than the mere
conservation of the hsiao-chuan. It was the origin of archeological researches
which brought to light more of the antique ku-wen, a n d of philological studies
which explained them. These successive discoveries were published, according to
the Chinese way, in enlarged and annotated editions of the primitive Shuo-wen.
See — Later on, u n d e r each key of Hsu-shen, were ranged a
chronological series of ancient forms, copied either f r o m stones or bronzes that
were discovered, or from books t h a t were extracted from tombs or other hiding
places, throughout the Empire. See . — 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 Hsu-shen. It gave the material for the Etymological Lessons contai-
ned in this volume.
Introductory. — Historical sketch. 9
II. LIU-SHU.
The Chinese philologists divide the characters into two great classes: the
wen, simple figures, and the tzu, compound letters.
The figures are subdivided into hsiang or nsiang-hsing, imitative
drafts; and chih-shih, indicative symbols.
The compound letters are subdivided into hui-i, logical aggregates,
in which all parts have a meaning; and in hsing-sheng or hsieh-
sheng, phonetic complexes, in which one part has a meaning, while the other
points out the pronunciation. _______
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; The Shuo-wen contains 1167 logi-
cal aggregates. Example: , composed of mouth and divination; the
outcome is chan, to consult fortune-tellers, to cast lots.
Fourth category. Phonetic complexes. They are made with two or more
simple characters. One of them gives the meaning; the other is not a «meaning
element», but gives to the complex its pronunciation;
The Shuo-wen contains 7697 phonetic complexes. Example: The first
part , water, gives the meaning; the second , chan, gives the sound. The
compound means, to tinge, to moisten, and is pronounced chan.
To complete the study of the lin-shu, there are two more categories
to be studied, the chuan-chu and the chia-chieh. The above four
categories are based upon the composition of characters. The last two are based
upon their use.
Notice. In the Lessons, for the sake of brevity, we shall not say in English,
about each character; this is «an imitative draft,» that is «an indicative symbol,»
or at logical aggregate,» or a «phonetic complex.» More commonly we shall
12 Introductory — Composition and Decomposition.
content ourselves wilh the Chinese definition given in Chinese characters. The
ordinary formulas for these definitions are thus given:
or hsiang or hsiang-hsing. Lit. imitative draft of the right hand.
, chih-shih. Lit. shows the thing, indicative symbol, to act, action.
, , , , Lit. from hand, draft; from
to act, symbol; by the fusion of meanings, to govern. This is a logical
aggregate.
, , , , Lit, from hand, from rod; by a
fusion of meanings, to strike. A logical aggregate.
, , , Lit. from , to enclose; gives the sound;
closed on the four sides, shut up hermetically. It is a phonetic complex.
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, b u t not all the chia-chieh. The latter
are to be looked for in the larger dictionaries, which are absolutely necessary on
their account.
From the calligraphic stand-point, the Chinese characters are all reduced into
simple strokes. These material elements amount, for the modern writing, to nine
in theory, and to about seventeen in practice. Their form is ascribed to the nature
of the writing brush, as explained previously. The strokes are:
Introductory — Composition and Decomposition. 13
Note well and do not forget that this reduction into simple strokes, into
material elements, has DO connection whatever with the etymological study of
the characters.
From the logical, etymological point of view, the compounds are made, not
with strokes, but with characters more simple, having their own use and meaning.
These simple characters are what we call «elements», when we speak of composi-
tions and decompositions. The more iutricate character was formed by their
association, and the analysis must end when it has separated and isolated these
formal elements. To go further, to decompose into strokes, would add nothing to
knowledge. Just as, in systematic botany, the study of a plant is ended when one
has determined its specific organs. The ulterior decomposition of these formal
elements into cells and fibres, belongs to histology, and is of no interest for
classification purposes. Examples:
, a logical aggregate, is decomposed into
, a phonetic complex, is decomposed into and
If one says that and which are given as elements, are evidently themsel-
ves compounds, we answer: no doubt, if it is a question of material analysis, one
should decompose into , and into and . But here, this is
not the question. What we look for, is the logical etymological analysis. Now, in
the logical aggregate , the element gives the meaning; it is therefore a formal
element. In the phonetic complex , gives the sound; it is therefore a formal
element. The etymological decomposition ends there.
It may be asked how numerous are those relatively simple characters or 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.
\. Meaning elements. — Theoretically, any simple character could be used
for the composition of a logical aggregate. The ancient writers used those they
wanted. — Practically, how many of those elements did they use? Relatively very
few. Indeed, the research of those elements had to be made among the ancient
regular forms, and not among the modern corrupted forms. Different Chinese
authors numbered from about five to six hundred elements, but their choice was
imperfect because there were compound forms, either multiples or inverted,
which were kept without reason. The first European who studied the question,
J.-M. Gallery, suggested the number of 300. J. Chalmers who resumed this study,
gave also 300 as a rough estimate Our own researches deliberately circumscribed
in the practical, domain led us to give 224 meaning elements, the list of which
may be found at the head of the Lessons.
14 Introductory. — Composition and Decomposition.
As said above, we call primitives the elements of the logical composition
called by the Chinese chien-shon, fundamental heads. The definition of
this term is to be noted well. Primitive, forrnal meaning element that cannot ad-
mit of an ulterior decomposition into meaning parts; or, more shortly, ideographic
minimum. In other words, the primitives are characters relatively simple, having
sound and meaning, and which are not formally resolved into figures having sound
and meaning. Materially, they may be reduced into strokes, b u t this is without any
use for the analysis. Just as a simple chemical body, or a bar of sulphur, or an
iron ingot, can be smashed with a hammer, a n d y e t this is not a decomposition,
but a breaking up. — In a few characters, strokes or dots were added to extend or
to modify the meaning. We call those characters partial primitives. They are
primitives, relatively to the graphical details superadded. See, as examples, the
nipples in , Lesson 67 0; the thorns in , Lesson 120 H; the grains of salt in
, Lesson 41 D; etc.
2. Phonetic elements. — Theoretically, the Chinese sounds not being numerous,
four hundred characters would have been sufficient to compose a phonetic scale. —
Practically, the Chinese used as phonetic elements, a greater number of characters;
the reason of this will be given below. Some Chinese authors numbered one thou-
sand of them, which they called the thousand mothers of sounds. J.-M. Callery
who made a special study of these characters a n d round in them a key to his
system, numbers 1040. Our researches, circumscribed in the practical domain,
gave 858 phonetic prolific elements. This list may he seen at the head of the
Phonetic Series. In the choice of these phonetic elements, the Chinese cared only
about the sound and not about the character. They employed, from which has
one stroke only, till which has twenty-four.
The inflected words of European languages are decomposed into radical and
termination. The radical gives the meaning; the termination indicates case, time,
mood. The (irst sinologists applied those grammatical terms belonging to inflected
languages, to the Chinese language which is not an inflected one. In the phonetic
complexes, they called radical the meaning part. They dared not call termina-
tion the phonetic part, and w i t h reason, for it would have been a mistake. They
called that part phonetic. We make ours those two terms, radical and phonetic,
but strictly in the sense above given, viz. Radical, formal element which gives
the meaning. Phonetic, the formal element which does not give the meaning, but
indicates the sound.
Why do we insist thus upon the delinition of these terms?.. The reason is this:
in sinologv, they were often used in an equivocal sense. — Some divided the charac-
ters into categories, stating that such a one is a radical, and such a one a phonetic,
while a n y character may be, in composition, either a radical, or a phonetic, ac-
cording to the part it has to act. — Others reduced the extension of the term radical
to the keys of the dictionaries, and gave as radicals only the 214 keys of K'ang-hsi;
16 Introductory. — Important Notices.
put in circulation with that sound, went to the North and to the South. Now the
Chinese philologists say that the North is known as corrupting the finals in the
words, while the South alters the initials. Thus when passing over in the Northern
dialects, had its final an transformed into en; was ended into yen and
into yeh: which are dialectic differences of a common origin. In a Southern dialect,
the ch of became t in , a n d n in : 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, Ssu-ma kuang for instance, gathered u n d e r the mother
word its roving brood, it was diversified with odd colours; there were characters
pronounced chan, chen, tien, nien and t'ieh. The compiler neither made a choice,
nor criticised, nor tried to restore the primitive pronunciation, nor returned to a
unique dialect, but simply set down what was then used, and posterity was told
by him, once for all, t h a t was pronounced chan, that was pronounced
t'ieh, and that was their common phonetic. — Upon the whole, with regard to
the phonetic series, note the three following points: 1. The sound was well 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 th a t 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 and aspiration.
But then is the study of phonetics useless? — It is an exaggeration to say so.
The study of phonetics and of the phonetic series is useful. For, after all, the
sounds, initials and finals of each series varied only to a certain extent and 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 useful than
by following the series by radicals or by sounds. It is the reason why we add to
this volume a lexicon by phonetic series.
IMPORTANT NOTICES.
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 , the phonetic had given the phonetic complex k'u,
dead tree. Now there is a kin d of elm which is also pronounced k'u. For this
elm, the character k'n was made, in which is used as phonetic; and so 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 be easily confounded. Hence arose a great number of
dialectic differences. A Chinese proverb says that at a distance of one hundred li,
people cannot understand each other. This assertion is exaggerated, but it is right
to say that, at a distance of one hundred U, there are perceptible dialectic 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 li, nothing is understood.
Further, the dialect of the same district varied in the course of ages. — That fact
being granted, let us take as example . In the place and time when was
first chosen to be used as a phonetic, this character was pronounced chan. Its
compounds, made after the same phonetic, were all pronounced chan, and being
Introductory. — Important Notices. 17
2. phonetic-Radicals. — In some a n c i e n t characters, an element which is
radical gives also its sound to the compound, being thus together radical and
phonetic. For ex. Lit. ping ice, from shui water,
from ping to freeze; ping is thus both radical and phonetic,Those chara-
cters are like a l i n k between the logical aggregates and the phonetic complexes.
3. Radical or phonetic redundancies. — \. The ancient characters were
relati vel y simple. When t h e systematic classifications begun to be made, then
w i t h o u t change in t he meaning of those characters, a meaning clement was su-
per-added to m a n y 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 of the master descending upon the
disciple, a h a n d was added, ho ld in g a rod, symbol of t he 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, w h i l e the p r i m i t i v e character remains
in the dictionaries with the mention ku-wen, ancient form. This is why one
may often read in the Lessons the words « it is now written. » For ex., ,
now ; the ancient form was enriched with the radical , the rest being quite
the same. — 2. The ancient drafts, or symbols, or logical aggregates, had no pho-
netic element, and n o t h i n g helped the memory to remember the sound. Later on,
specially in the ti m e of Li-ssu, a phonetic element was added to some ancient
characters, w i t h o u t changing anything in the sense. For ex., to the character kui,
was added tui, to recall the sound ui, which gave Those embellished logical
aggregates differ from the phonetic complexes in this, t h a t they cannot be a-
dequately decomposed i nt o two elements, one being a radical, the other a pho-
netic... Another example: cb'u was added with the phonetic hu, which
gave ch'u... Now a n d are no longer used. They are found in the dictio -
naries, with the mention ku-wen, ancient forms of and
i. Phonetics and Radicals contracted. — See the phonetic Series 469,
, etc. It seems to come from hsin, h u t it ends in ao. Its phonetic is not
hsin, but nao, a logical aggregate made from hsin. Bu t nao having already
a lateral radical , the addition of the radical of phonetic complexes would make
ugly characters. To avoid this, is contracted, that is: its is suppressed, and
in its place the radical of the. complex is substituted. It the series 469, nao con-
tracted is the phonetic, . — The same happens in the series 119, un-
der ch'u, where one may find compounds in ieh. Their phonetic is chieh
contracted, in which 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 "contracted phonetic" — In the logical combinations some
radicals are abbreviated in the same way. Thus becomes or . See
and , L. 44 E,J. — The scribes definitively contracted several intricate ancient
forms, for example:
18 Introductory. — Classification ol Characters.
Table of Rhymes.
I, ih.
A, ia, o, uo.
Ao, iao.
E. o. Ieh, yeh.
A. ai, ya, ua.
Ang, iang, uang.
Iu, ou.
En, in, un
Introductory. — Classification of Characters. 21
Initials Finals
6. European classifications.
Modern form. The ancient form may be found at the number given.
Shu2. Shou3.
124. 160. 9 11
6 T'ien4. Ti4.
41. 87. Ch'ao1. Ch'ing4.
2
Ch'i . Tzu4. Tou4. 106. 173.
70. 159. 165. Che3. Lu4.
Ch'ien1. Yang2. Yu3. 159. 136.
115. 103. 41. Chiu3. Niao3.
Chih4. Yen3. 170. 138.
133. 117. 8 Chuan1. T'ou3.
Chiu4. 164.
82.
139. Ch'ang2. Yin2.
7 Ch'uan2.
Chon1. 113. 172.
125. Yu2.
66. Chin1. Fei1.
Ch'u1. Ch'e1. 142.
14.
167. 11.
51. 3 Cho4.
Chiao . Ko2.
Erh3. 43. 12 &
142. 105.
146. Chui4.
Erh2. Chih4. T'iao2. Ch'i2.
168.
166. 41. 174.
164. Fei1.
Fao3. Chiung3. Yang2. Chiao2.
170.
130 42. Fu4. 101. 176.
Fu4. Ch'uan4. 86. Ch'ih3.
40. 153. I*. 1O 175
Hsi1. Ch'uang1 101.
Huan1.
41. 40. Li4. Ko2. 106.
Hsia*. I2. 163. 155. Kai1.
41. . 82. P'eng2. Kou4. 108.
Hsin4. K'uai3. 64. 104. Lung2.
40. 156. T'u4.
Ma3. 140.
Hal. Lu3. 106. 137. Min3.
135. 90. Tzu1. Ssu4. 108.
Hui1. Pan1. 150.
136. Shou*.
110. 104. Tsao2. 144.
I1. Pei4. 102. Sha 3 .
16. 161. 54.
Jou*. Pien4. Shu 3 .
65. 123. 139.
Kua3. Shen1. Yao4.
118. 148. 88.
, Mi3.
122.
Shih3.
69.
Teni4.
141.
26 Etymogical Lessons. 1.
LESSON 1.
The
LESSON 2.
About the character , two strokes, and some of its derivatives
Erh4. Two. The number of the earth, because it
makes the pair with heaven. The number of the two
principles yin and yang.
— It is the 7th radical in K'ang-hsi.
In composition, has three different uses.
LESSON 3.
According
to the ancients, the k i n g is the one, the man
who connects together heaven earth and h u m a n i -
ty. See L. 83 C. — Phonetic series 87.
LESSON 4.
We saw (L. 1, 1° and 2°) — used as meaning an horizontal line. From this accep-
tionare derived the following characters;
Shang4. Up, upon, superior, to mount. A sign
placed above, the fundamental line , signifying
above the level;
The ancient form of this character was
(L. 2 G), the s m all er top line being usep as a sign
r elatively to the longer bottom line. In the more
recent forms, the sign became more a nd more intricate. —
In the modern wri-
ting, kept up its ancient form at the top of many characters, for e xa m pl e,
. It is to be distinguished from , the fictitious Sth,radical in K'ang-hsi.
(See L 4 D).
Hsia 4 . Below, to descend, inferior. A line traced
below the fundamental line , signifying below the
level; —The ancient form
Of t h i s character was (L. 2 G), the shorter bottom
line being used as a sign relatively to the longer top
line.
LESSON 6.
Firstly, kun3.
Kun3. A vertical stroke, a perpendicular;
— It forms the 2d radical in K'ang-hsi.
It is f o u n d in m a n y characters, in which it has gene-
rally a symbolic significat ion.
It represents the t r u n k , in
Mu4. Tree. See L. 119 A.
It represents a man standing, in
Shen1. To gird up (with both hands). See L. 50 C.
It represents a bow-string, in
3
Yin , to draw a bow; See L. 87 A. Etc.
Secondly, chueh2.
Chueh2. A crooked stroke, a hook;
It is the fictitious 6th radical in K'ang-hsi. The
Sbuo-wen gives no derivative s from this primitive.
However, in the modern characters, occurs very frequently.
The reason of the
fact is that, with the writing-brush, it is easier to trace than Consequently:
Hsiao3. See L. 18 H.
Ts'un4. See L. 45 B.
N. B. — inverted gives
LESSON 7.
inverted gives
Fu2, an oblique line from left to right.
This stroke that seldom occurs in the
ancient writing, is now frequently used as an abbrevia-
tion.
and combined, give
LESSON 8.
About the primitive
I4. To draw, to drag; Forms several
compounds, for ex.
inverted gives
LESSON 9.
LESSON 1O.
About the primitive and its two important compounds, and , with their
series; then about the derivatives , a group apart .
Yin3. Curve; to cover, to conceal;
Sang1. Etymologically.
to weep over the dead; funerals. This compound
is a typical picture of the Chinese thing which it me-
ans: to howl with several mouths, as dogs do,
over a dead person. Meanings chuan-chu, to die,
to destroy. Note the contraction of the lower part of
the modern character.
Wu2. A multitude
(L 24 H) of me", acting upon a forest, felling
the trees, clearing of wood a tract of land. In the old
form J, stated t h a t the wood had vanished. Hence
chuan-chu the general abstract notions of vanishing,
defect, want, negation. — Phonetic series 718.
Note. The study of this second series, E F G H I J, proofs wit h evidence that it
is impossible to understand the characters, if one attends only to the modern forms,
Third series : combined w i t h ten (L.-24), and eye (L. 158), gives
the interesting following compounds :
T'ing 4 Rectification
of the h e a r t heart of a disciple (L. 81 0) or an
aud itor, by his ear (L. 146 A). To hear, to listen,
to be attentive, to conform to instruction, to obey...
ting is also phonetic. — It forms the compound
T'ing 1. From shelter and to hear. An open
hall, used for meetings, teaching, official proclama-
tions (L. 59 J ).
Lesson 11.
Inverted, forms
Chu2. To seize, to hold;
This ancient form is no longer used and was replaced
by .
Etymological Lessons. 11. 12. 39
LESSON 12.
Yung1. Moats. In
the w r i t i n g ta-chuan, instead of i4, city ( L . 74 C),
there was , representing circumvallations (L. 90 G);
— It forms the compound
See L 40 B.
LESSON 13.
About the p r i m i t i v e
Ch'ui2. An object suspended, a pendant; with its
multiples
Yin4.
logical aggregate. A dog (
L. 134) that s hows his teeth, the
points of which are. represented by instead of
(page 16, notice 1) . It forms the phonetic compound
yin4, to desire, to ask, etc.
Hua 1 . Flower;
The vernal expansion ( L . 58 E) of lea-
ves a n d flowers. In t h e second a n c i e n t ch ar act er,
is a r adical r e d u n d a n c e (L . 78 B) . — P h o n e t i c series
687. -- The modern character , means the term of
vegetal ev olut i on, t h e flower ( L . 30 D).
4
SU Pongee, silk obtained from the cocoons of
wild silkworms, collected on the boughs of mulber-
ries. Chuan-chu, na tur a l, sim ple. — Phonetic series
568.
— It forms
LESSON 14
First series;
Ho2. U n i o n , a g r e e m e n t , h a r m o n y ;
Etymologically,
many ( t h r e e ) mouths ( L . 72) speaking together;
good understanding. — Phonetic series 198. — Note
the two following compounds:
Ta2. Vetch, pea, vegetables
whose boughs are joined, get
entangled. Chuan-chu, to join,
to adapt, to answer. In the last
sense, this character is now
written , which is unautho-
rised. — Phonetic series 570.
Yen3. To j oin the hands
to cover so mething; to cover.
See L. 47 L — Phonetic series
496.
46 Etymogical Lessons 14.
1
She . A shed, a booth;
Joining of walls in beaten earth
and of thatch (LL. 74 and 78). In its modern form,
this character seems to be derived from (L. 102 C,
1 3 5 t h radical), under which it was classified by
K'ang-hsi. Rut there is no relation whatever between
3
both. It forms the compound she , to part with,
to reject, and the logical aggregate
2
Yu . I. me;
Comp osit io n :
to distinguish (L. 1 8 ) ;
contracted, being replaced by
. The Chinese
custom requires that anyone enteri ng a house,
should make known his presence and distinguish
hi ms el f from any other person by c r yi ng o u t : It is
I, so and so, who comes for such a n d such a purpose.»..
A man entering a house and k e e p i n g silence, is liable
to suspicion. — P h o n et i c scries 3 1 9 It forms the,
phonetic complex
2
Ch'a . T e a ; The
modern s c r i b e s m u ti l a t e d the an-
cient form. — Phonetic series 507.
4
Hui . To gather, a me eting ;
To order , to add (contracted,
L. 40 D). The ancient c haracter was simpler;
To assemble
a multitude represented by three. — Phonetic
scries 736.
1
Ch'ien . Meeting, together; . From
to gather, from several men, from
several mouths. It is a w e l l k n o w n fact t h a t a Chinese
cro wd cannot keep silent. — Phonetic series 726.
2
Yu A small boat, a primitive barge;
Junction of a few planks,
forming a bout , to go up the river (L. 12 D).
Note for (. L. 66). Note also t h a t the engravers
often cut instead of , which wrongfully reminds
of the 18th radical (L. 52). — Phonetic series 501.
Etymological Lessons. 14. 47
T'an1. To covet;
The feeling moved by the presence precious
object Its phonetic compounds are unimportant.
Third series:
LESSON 15.
About ll>e primitive and its derivatives.
Ju3. To enter, to put in, to penetrate into;
The character represents
the penetration of roots into the earth ; the vertical
l i n e representing the plant, the two descending lines
denoting the roots. It is the reverse of ch'u1, to go
out (L. 78 E), that represents a plant growing
upw ards; — It is the 11th radical.
2
Ch'uan . Complete, entire, perfect. The etymologists
give two different interpreta tions of this character:
1. The ol d one : The work
(L. 82) is ordered , linished, complete, perfect.
According to this etymology, is derived f r o m
(L. 1 4 ) a n d not f r o m The b ot tom stroke of is
c o m b i n e d together w i t h the t o p stroke of
2. The modern one:
A jade (L. 83) spotless, perfect; would he
an abbreviation of yen3 (L. 117 B) , used as a
phonetic. This unli ke ly supposition is of Li-s su.
Ph o netic series 192, u n d e r its present Conn.
N ei l To enter, interior, into;
See chiung3, t he outside, L. 34
A. — Phonetic, series 74. It forms
O4. Na4 To speak in a whisper, as it were i nt o
one's month.
Note the mod ern form contracted. Taken for (the
c o m p o u n d for t h e sim p le, p. 16, I ) , it forms t h e two
following characters:
Yu4. To penetrate into , to
pierce with a sharp instrument
( L. 95 C). — Phonetic series 720.
Hsi1. Swallow;
A bird
that builds its nest within
the dwel lings (a thing common in China); (and not
, as the modern cha-
racter might induce to believe) represents the head (L. 78 A), says the Glose. It
m a y b e so; it seems probable however that 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. 15. 16. 51
LESSON 16.
Note. In composition, has three positions. — 1. One the l e f t side of the cha-
racter. It is then contracted u n d e r the form . — 2. on the top or at the bottom,
it is then unchanged. — 3. Cut i n t o two halves, on the top, at the bottom,
the phonetic being introduced between the two. These characters are n o t to be
confounded with those belonging to th e 8th radical is the test; a n y
time
one sees at the bottom of a compound, the n it is a derivative of 145th ra-
dical, not of 8th radical. — 4. Note also that in some characters, as a conse-
quence of the fusion with an element placed on the top, the upper part of is
quite altered in the modern forms. The lower part has also been altered in the
character (L. 16 M).
52Etymological Lessons, 16.
LESSON 17.
Pi ng 1 . To freeze, ice;
It represents t h e rays t h a t
a p p e a r by crystallisation at the sur face of water when
it is freezing. — It. is the. !5th r a d i c a l of characters
r e f e r r i n g to cold, freezing, a n d ice. It forms.
T i a o 1 . T a k e n by fr o st , e x h a u s t e d , fading, d y i n g ;
See L. 109 C.
Tung1. Winter
The frozen end of the year. The old character
meant cessation of the solar action, confinement
of the sun; For,
says the Glose, must be interpreted as in
Appendix
ln the f ollowing characters, is a special primitive,
that has nothing in common with . It means
thongs, folds, in G H I .J; scales, streaks, in K.
Ju 4 jou 4 . Me at, flesh. .Thongs of
dried meat , made up into a bundle (L. 54). The
anc ien t Chinese were used to dry-salt meat, without
smoking it. The pay of a school-master is still called
shu-hsin, because he was formerly paid with
dried meat. See L. 65. — It is t he 130th radical
of many characters rel ating to meat and food. Note
the derivative
Tsu3. Credence-table charged with meat, that was
offered in the sacrifices;
See L. 20 D. K'ang-hsi wrongfully classified this
character under the 9th radical
Etymological Lessons. 17.
LESSON 18.
About the primitive , and its derivative , which forms an important group.
First series:
Pa1. Etymological sense, to d ivide, to partake. It is a
primitive representing the division in two parts, the
separation; 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
12th radical. Phonetic series 8. — In the compounds,
placed on the top of the character, is sometimes
reduced to two points in t he modern writing, v.g.
for . Most of the characters having at the bottom
in the K'ang-hsi dictionary, as ,
have really nothing in common with this primitive.
— Note the following derivatives:
\Veng1.
Hairs or feathers in the neck.
The modern m eaning, old man,
sir, is a chia-chieh; the characters and were
chosen to denote, appellations of politeness which
existed before;
Phonetic series 584. See. kun2, L. 16 F, etc.
Second series:
Hsiao3. Small, trifling, mean; This
idea is represented by the partition of an object
already sm all by its nature;
— It is the 42th radical. It forms
For
hsing3, see L. 158 D.
Etymological Lessons. 18. 19. 61
LESSON 19.
First series;
To this character combined with chih3 (L. 31 B), is ascribed the compound
Ying 2 . Note the fusion of the from ,with the
from . Success, h a p p y issue. To get well out of
a difficulty; . It forms with the dish
(L. 157), the compound
Ying2. The
a b u n d a n c e that comes to one when, by one's efforts,
one arrived to fill with provisions one's vessels.
Second series:
E Note: had old forms, primitives, now obsolete, but that may be still found
in compounds. Those forms are
Chin1. L. 14 K. Shih4. L 34 D.
Etymological Lessons. 20. 63
LESSON 2O.
About the primitive , and its derivative that forms important compounds.
First series:
Chi 4 A seat, a stool; — It
forms the artificial 16th radical. Phonetic series 4.
Derivatives
Second series.
Ch'ieh3. A partial primitive. It was formerly pro-
nounced tsu3 or chu3. It represents a small 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,
the meat placed upon it );
Now changed
its meaning and became (cbia-chieh) an important
conjunction, — Phonetic series HO. It
forms the phonetic complexes
LESSON 21
LESSON 22.
First series:
Shu2, ch'u2. The j er k y flapping of a short w i n g ;
Then, in general,
any rhythmical and jerky motion. The derivatives of
must be carefully distinguished from those of L.
19, and L. 20; in the modern writing, this distin-
ction is not easy to be made. Forms
Fu2. A wild duck; the bird which flies
heavily;
Second series;
Shu2, ch'u2. The right hand making a jerky
motion; to strike; . By extension,
a slick, a ferule. — It is the 79th radical. Phonetic
series 51. Note the following derivatives
Shan4; Jerky
motion of the scythe that cuts the grass ; to mow.
60 Etymological Lessons. 22. 23.
LESSON 23
First series:
Chiu3. Nine; a numerical sign, without any other
signification; . — Phonetic scries
5. It forms
Hsiu4. This character was made, they say, to be
used as the name of the. founder of the Hou-han
Dynasty, Liu-hsiu. At his birth,
a story says there were found,
hanging down from o ne only stalk,
nine
b e a u t i f u l ears. This phenomenon was regarded as a
presage of the Emperor's future elevation. Hence
This auspicious character
was used to designate the bachelors hsiu-ts'ai,
in imperial times. In t he modern writing, was
changed into (See L. 19 ). — Phouetic series 278.
Etymological Lessons. 23. 67
Second series:
Jou3. The h i n d legs a n d lail of an a n i m a l ; (he track
of an animal's paws a n d rail; a step;
It is a p r i m i t i v e t h a t has n o t h i n g in common
with . — It is th e 114th radical. F o u n d in
Yu2. It represents an insect with a big lail, probably
t h e sc or pion. Name of the c e l e b r a t e d
Emperor who was the f o u n d e r of t h e Hsia Dynasty,
1989 B.C. Sec o u r Textes H i s t o r i q u e s , p. 38. —
Phonetic series 504.
Yu3. M o n k e y ; Its bead,
says t h e Glose, resembles t h a t of t h e d e m o n s ( L 40 C),
a n d its l a i l is a p r e h e n si l e one. Gf. [.. 49 H. —
Phonetic series 503. Note the successive f o l l o w i n g
compounds
Li2. A y a k ; th e paws and
the big t a i l ; is an ab bre viati on
of L. 40 C, t h e b ead;
changed i n t o in the modern w r i t i n g , represents
the boms ( G f . L. 136). —
Phonetic, serie s 628.
C h ' i n 2 . it is , the horns
being replaced by the phon etic,
chin1 (L. 14 K ) . W ild ani mal s
by opposition to domesticated a n i m a l s
( b e l o w ). — P h o n e t i c series 728.
Ch'ieh;
A swarm of termites stealing
grain in a storehouse, to eat it. To steal, to act by
stealth, etc. The scribes write in different mauners this intricate character. Note
th a t the form authorised by the is also mutilated. From (L.
24 H) there remains only a . w h ic h leads to confound with (L. 123).
68 Etymological Lessons. 23. 24.
crouched
down under a stone (L. 59 A).
Pricking, sharp, bad, cruel, and
other chuan-chu. — Phonetic series 804,
LESSON 24
K u n g 4 . An a c t i o n d o n e in c o m m o n , a l l t a k i n g p a r t in
i t , represented by twenty pairs ot h a n d s ;
See L 47 Q — P h o ne t i c series 225.
K u a n g 1 . L i g h t , lust er .
P r i m i t i v e l y twenty tires (L 126). The
m o d e r n f o r m r epre se nt s , a man w i t h fire
(L 2 9 ) : p r o b a b l y a man c a r r y i n g a torch T h e a n c i e n t
f o r m was m a i n t a i n e d in a few compounds ( b e l o w L) —
P h o n e t i c series 222 It f o r m s
H u a n g 3 . Brightness of t h e
sun, to dazzle:
— Phonetic series
537.
2
WU . See L. 10 1, where this character was fully
explained. A luxuriant forest destroyed by a
great number of men. It is now an adverb of
negation; no, none, no more. — Phonetic series 718.
LESSON 25.
Shan3. A man in a
door (L. 129 C ) , moving sideways to give way
to others; by extension, a sudden a n d quick motion
in general.
Hsien1.
LESSON 26.
About the inverted which is now written (Compare with the old forms,
L. 25 A and 26 B).
Tsan1. To murmur;
See L. 73 A. Not to be confounded, either with t'i
(L. 60 L) as many scribes do, or with L. 79 B. —
Phonetic series 709. Note
Ken4. To turn
suddenly round , in order to look a man f u l l in
the face, haughtily; anger, defiance. — It is the 138th
radic al. Phonetic series 219 and 741.
Note. Hang- has another origin. See L. 75 F.
Hem t'ui4. See L. 31 C.
Etymological Lessons. 26. 77
LESSON 27.
It forms
1
Shih . The stalks of
Achillea Sibirica , t h a t were
used by the wizards to divine.
It forms
the phonetic complexes shih4, to bite, to gnaw;
shin4, bank, quay.
See Ling2, L 72 K. Distinguish from
L, 16 M, a n d from contracted in L. 13 C, etc,
Note 2:Two , one above the other, represent also the feet in the following series
Neng2, formerly Nai4, which explains the sound of
some derivatives. The great brown bear. After Li-ssu,
this character was explained thus: two paws,
the body, the growling of the angry bear. (L. 85 E).
But the study of the old forms reveals a special primitive
delineati ng 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 ;
— Phonetic series 55*. It forms
T'ai4. Martial attitude. — The
outward of the interior valour.
Hsiung2. The s m a l l black bear; represents
the feet (L. 126 C), a graphic redundancy.
Pa4. A bear, f i g u r a t i v e l y an officer t a k e n in a
net (L. 39 C). to dismiss, to resign, to cease, and
other cbuan-chu. The Glose explains that the. net
means calumnious accusations. Compare L. 39 F.
LESSON 28.
About some peculiar forms of . curtailed in the modern writing, either through
want of space, or through a p arti al f u sio n w i th a phonetic; is reduced to ,
, etc. In the ancient writing. has its normal form.
Chi2. To attain, to seize upon. A hand th a t seizes
a man T h i s character was explained, L. 19 D. —
phonetic series 40.
Hsien 4 . A trap, a p i t ;
A man who fa lls int o a
p i t ( L 139). Cf. L. 38 D. — Phonelic series 360.
She4.
T
'u2, h ar e, L 106 B. Yu 2 , fish, L. 142 A.
LESSON 29.
About , the form taken by , when placed at the bottom of the characters.
Huang 4 ; A mouth
on the top of a man; to speak strongly,
emphatically, a ut horitatively. Note the two modern
chuan-chu, with change of sounds
1. K'uang4. An emphatic conjunction, so much
the more, a fortiori. The scribes write , but
their writing is rejected by the critics,
2. Hsiung1. The eldest among several brothers;
the one who must exhort and correct his brothers.—
Phonetic, series 123. Note also the compounds
—
Phonetic series 313.
(L 45 B) s t a n d s f o r The m e a n i n g is,
w h a t is placed on t h e head, to cover it.
LESSON :30.
First series:
Jen 2 . A m a n who leans, who bends u p ;
It f o r m s
Ch'en2.
A woman who bends
f o r w a r d to conceal her shame, says the Glose;
p r o b a b l y h e r menses (not h e r pregnancy L. 112 L).
H e n c e chuan-chu time, epoch, period. — It is t h e
161th r a d i c a l . — Phonetic series 254.—The p r i m i t i v e
ine a ning; h a s been preserved in t h e c o m p o u n d
Ju 4 . To sh a m e, to i n s u l t ; To
reveal ( l o r , L. 43 A ) a shameful situation
or t h i n g . — Phonetic series 541.
Second series:
Hua4. A man tumbled head over heels;
The primitive sense was, to die;
Derived meanings, to overthrow, to
transform; It forms
88 Etymological Lessons. 30. 31.
LESSON 31.
First series:
Chiu3. A man hinder e d w h i l e w a l k i n g , by a k i n d of
train;
Hence the notion of slowness, of duration —
Phonetic series 17.
Etymological Lessons. 31. 89
Second series:
Chih 3 . To follow, to pursu e a man who walks;
— It is the 34th
radical, o r di n aril y placed on the top of compounds.
It forms
Third series:
Sui 1 . A man who goes on, despite of shackles;
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
90 Etymological Lessons. 31.
inverted, forms
K'ua4 To overcome an obstacle represented by ;
The modern character
k e pt t h e old form. P h o n et i c in ko 1 , a pot.
straight and inverted, forms
C h ' u a n 3 . I t . is composed of , t h e s t r a i g h t a n d the
inverted form, ba rk to h a c k ;
To po in contrary d i r e c t i o n s : opposition, contra-
d i c t i o n , offence, e r r o r ; Compare L. 27 G.
— It is t h e 136th ra dical. In th e compounds,
represents two men hack to hack
Note the following
Wu3. A dance wi t h gestures,
performed by twogroups opposing
each ot her (See L. 65 D); the
dancers hack to hack, a phonetic contracted (L.
10 I);
Chieh2. Primitive sense:
tree, on which cr i mi n al s were
hung, gallows of hackold. to
Thishack;
character
the
now means a roost, for f o w l s to rest
on;
— P h o n e t i c series 518. It
forms the f o l l o w i n g
Sheng4, ch'eng2. A warriors'
car, a so rt of roost for men
standing back to back, on two
r a n k s; the top represents a roof. The modern form
does credit to the ingeni ous scribes. — Phonetic
series 512
See also , and L. 126 D;etc.
Etymological Lessons. 31. 32. 91
LESSON 32.
About a peculiar form of , shih1, analogous to. , which was explained L 30A.
1
Shih . A seated m a n . The l i v i n g person who an-
ciently represented the dead; by extension, a dead
person. The Glose says: The sons, not seeing the de-
ceased ancestor whom they worshipped, i n v e n t e d the, to i mp er son at e h i m ;
bodies. It forms
See L. 125 B.
LESSON 33.
Ch'ieh1. To cut;
k
nife, L. 52. - Phonetic
series 43.
Second series:
T'o1. A partial primitive. It represents a small plant
s i n k i n g its root into the. ground. The ground —, the
root beneath, the stalk and a small ear above;
— Phonetic
series 29. It forms
Chai 2 . Habitation, abode;
The place where a man takes root, fixes his
dwelling, — Phonetic series 177.
94 Etymological Lessons. 34.
LESSON 34
First series:
3
Chiung . The. suburbs, the country, the space. The
t w o ve rt i c al strokes delineate the limits; the horizontal
s t r o k e represents the interval between t h e m , the void
space ; — It is the
1 3 t h radical. Note the deri vat i ves
3
Chiung . A synonym of the preceding. The
representation is more e x p l i c i t ; ( L. 74 delineating
t h e w a l l e d t o w n in the middle of t h e c o u n t r y . —
P h o n e t i c s eries 1 1 4 . The d eriv a t iv e s of are to be
distinguished from those of (L. 76 G). e. g.
3 2
chiung , to go in remote places; hui . to return.
3 4
Distinguish also chiung from hsiang and
4 4
shang ( L. 36 E) ; from o (L. 15 C); from
3
chiung (L. 42 B)
4
Nei . The i n t er i o r; to ent er in a void space,
in t h e i n t e r i o r . This ch a r a c t e r was e x p l a i n e d L. 15 C.
Not e how in the old form here joined, is already
m is ta ke n f o r (34 H), whi le the Glose gives t h e true
e x p l a n a t i o n . - Phonetic series 74.
4
Shih . A market The grass-grown space out
of the c i t y , wh er e people go and get (L. 19 El what
t h e y are in need of;
(L. 79 B)
This c h a r a c t e r has nothing in common with (L. 35),
under which it was erroneously classified by K'ang-
4
hsi. It must be carefully distinguished . from fu
4
(35 B), and from fei (L. 79 G ). There are a few
i nsignificant compounds. Note the logical aggregate
4
nao , to bustle; (L. 11 I) to quarrel as in the
market place ; the noisy wrangling and confusion
of a market, so dear to the Chinese.
2
Yin . To go away, to withdraw. A man who
walks in order to go out of a space;
— Phonetic series 94. Not to be
confounded with jung3, L. 29 J.
Etymological Lessons. 34. 95
Note. One. may see how, in the modern forms, and are absolutely mixed
together.
Second series:
It forms
a few insignificant phonetic complexes. This character
is sometimes wrongly written
;
so that the derivatives of mao4 cannot be distinguished from those of yueh1
(L. 73 A). Still improving on the scribes, K'ang-hsi, a f t e r having classified, under
the 14th radical , characters that do not belong to it, placed the true derivati-
ves of , the whole series . u n d e r the 13th radical . Such is the value
of classifications based upon the modern characters, altered or mingled with
others. — It forms the compounds.
Etymological Lessons. 34. 97
Appendix. The repeated twice, is given as being the lower part of the next
important compound, though it appears seldom, the
modern scribes having changed into
LESSON 35.
About two primitives nearly identical in the modern writing, chin1, and
liang3, with their derivatives. :
Note. The lower part of some ancient characters, v.g. L. 119, L. 92,
accidentally resembles . Note also t h a t (L. 79 C) has n o t h i n g in common
with . But (L. 21 D) is derived from it, as are also t h e f o l l o w i n g characters
LESSON 36.
T'ang4. A cave-dwelling
, in the rock;
Tsung1. An ancestral h a l l ;
The b u i l d i n g from which ema nates
(L. 3 D) the influence of the deceased ancestors o v e r
their posterity. By extension, ancestors, a clan. —
Phonetic series 404.
See L. 123 F.
LESSON 37.
LESSON 38.
About the three primitives: k'an3 ch'u1, and kung 1 , which are both written
in the modern way.
A Note: Two other primitives,i 3 (L, 85 B) and ssu1 (L. 89) are also w r it t e n
, in the modern running h a n d : so that is used for four ancient primitives,
which fact does not make the matter cle arer.
By extension,
coercion, violence The scribes often write , which
is a wrong character. The philologists refer to ,a
contracted phonetic, the compounds of in ieh,
as chieh4, etc.
The same cover, upon a different vessel, may be found in the ancient forms of the
following characters
Hu2 A pot, a jug. The representation of the vessel
is a primitive. On the top, the cover.
It has nothing in common
with ya4, L. 82 H. Not to be confounded with
k'un3, L. 15 A. It forms the next.
1
I . A kind of ritual vase of old.
This character, now obsolete in
the primitive sense, is used ins-
tead of— one, in casting up accounts. See 24 C, and
38 D. was the auspicious vase; was the
inauspicious corresponding vase.— Phonetic series 680.
Etymological Lessons. 38 39. 107
In the modern writing, the scribes contracted the cover and the
contents into , thus forming an illogical character, for it is made with one cover
and two vases, and . It is often chia-chieh for , an interrogative particle:
— Phonetic series 532, under its modern form. Note the compound
Kai4. A. roof made with course grass used for
thatching, to put a roof on, to conceal both literally
and figuratively; a cover;
The mo-
dern form is admitted by the critics, but is an unauthorised character.
LESSON 39
About the, character , which corresponds with two primitives (Series I and2);
and about its multiples (Series 3. 4. 5.1.
Wu3 Five;
The two principles yin1 and yang2, begetting the live
elements, between heaven and earth. It forms
Wu2. An appellation to design one's self; I, my, me;
Third series: Two , side by side, represent the meshes in the important
character
Wang3. A net; to throw down the net, to entangle,
to catch. It is derived f r o m covering (L. 34 H),
and representing the
net;
— It is the
112th radical of characters concerning nets. The
scribes alter so 1hat it m a y he mistaken for
bent down ( L . 158). It forms
Wang3. To car r y off by a cast of the
net (L. 10 E). By extension, disappearan ce,
absence, negation; compare (L. 10 I, J). The scribes
wrote in such a way t h a t it resembles the 169th
radical . — Phonetic series 408. Not to be
confou nded with the next
Kang 1 . The culminating p o i n t of a mountain
(L. 80), covered by t h e cloudst The
Close rejects as being a g r a p h i c redundan cy , a n d
gives as an irregular f o r m of — Phonetic
series 365.
3
Erh . Harmony. See L. 35 L — Phonetic series 776.
LESSON 40
Lu4. To meditate;
Phonetic series 807.
Fu 4 . Head of a devil, of a p h a n t o m ;
It forms
This modern character has two ancient forms, each forming a distinct series.
Further there will be an appendix for the modern abbreviation
LESSON 41
The seven series of t h i s Lesson are devoted to seven characters, distinct in the
ancient writing, analogous or identical in the modern writing, viz: 1. ping3. —
2. t'ien 4 — 3. hsia4. — 4, 5, 6 hsi1, t'iao2, yao 1 . — 7, yu 3 .
First series: ping3.
Ping 3 . F ire, calamity. The fire u n d e r a roof,
in a house. The more recent form represents the
flames rising up and — spreading over the roof;
K e n g 1 . To change, to improve;
, Intervention of the armed
h a n d (L. 43 D) in a fire, in an u n h a p p y s itua tio n;
change, amendment. Nole the contraction of the
modern character, and the
compound su1, to return to life. K'ang-hsi erroneously classified
under , the 73th. radical. — Phonetic series 283. It forms
Etymological Lessons. 41. 115
4 2
Pien . Pien A man who settles his
afTairs well; advantage, convenience, ease;
— Phonetic
series AH.
Pi 4 . A i d , helper, lieutenant,
Two bows, strung on a bamboo with
leather-strongs, to prevent deformation;
The idea of helper, of minister, comes
from the fact that, in ancient times, bows, like swords,
were paired, not single. See L 87 B.
Lu3. The rock salt, that was first used by the Chinese,
a n d that comes from t h e West, says t h e Glose. Hence
the composition: hsi1, West, in its ancient form,
and four grains of s alt ;
— It is the 197th radical. It forms
the compounds
Yen2. Salt obtained by evaporation of the sea-water;
Hsien2. Salted.
S i x t h series: yao4, c o n t r a c t i o n of
See L. 50, N, 0, P.
LESSON 42
LESSON 43
The eight following Lessons, 43 to 50, treat about the character representing the
human hand. Among the modifications introduced in the modern writing, there
were none more deplorable, than the replacing of those very expressive charac-
ters, by unrecognisable abbreviations.
The h a n d Both h a n d s
facing. L 48. hanging L. 50.
First series:
Yu4. The right h a n d. The Glose explains that the
fingers are reduced to three, for the sake of
simplification; It is found
in a great n u m b e r of compounds. — It is th e 29th
radical.
M u 4 S h e p h e r d , to feed. The
man who superintends, has
oversight of cattle;
Second series:
— See L. 44 H.
LESSON 44.
A In this Lesson, we sh all examine some characters in w hich the hand
kept almost its ancient form in the modern writing. The ancient forms of these
characters resemble those of the last Lesson. Do not confound the h a n d , with
the 58th radical
Ch'ou 3 . A hand bound. To bind, to tie u p ;
Chia-chieh, a cyclical
character. Sometimes, in composition, it means the
hand (L. 43 A). — Phonetic series 50. It forms.
Hsiu1. To be forced to offer
a sheep in expiation, as a re-
paration for wrong. Hence, to
feel ashamed, to blush.
3
Yin . A magistrate, to govern. A hand that exerts
a u t ho r i t y ;
It forms i1, a proper Dame; and
Ghun1. A prince;
The
scribes contracted into
Fu4. A married w o m a n , w i f e ;
LESSON 45
First scries
Tsun4.The Chinese i n c h. The clot represents th e place
on t h e w r i s t w h e r e the puls e is felt, w hi c h pl a c e is an
inch d i st a n t f r o m the h a n d ; hence the meaning i n c h ;
Shou3. A m a n d a r i n , a p r e f e c t ; the m a n , w h o , in hi s
t r i b u n a l , a p p l i e s the law.
By extension, to observe,
to keep. — Phonetic series 237.
gate (the winding requires attention); length, duration (as of a thread winded ).
The c h a r a c t e r was altered by the scribes. There are different chia-chieh. — Pho-
netic series 686.
Second series:
Ch'a1. To cross, to interlace. The a n c i e n t character
represented t h e two hands i n t e r l a c e d . In t h e modern
character, the l e f t h a n d is represented by
By extension,
gearings, toothed wheels, etc. — Phonetic series 12.
Third series.:
Chao3. Claws; Hand or paw with
points; It forms
Fourth series:
Shu2. A glutinous grain, rice or millet ;
The idea of glutinousness is represented
by the hand , that separates three agglutinated
grains. The ancient charater represented the plant.—
Phonetic series 158. It forms
Sha1. To decapitate;
The cutting (39 B) of the ear, upon a stalk of
rice, sorghum or millet. The ancient forms represent:
on the top, the hand after th e cutting ; at the bottom,
the stalk beheaded. To behead a man is now said
sha1, (L. 22 D) representing the sword's stroke.
Etymological Lessons. 46. 46. 127
Note that the modern scribes, leaving off the dot on the
top of , write etc., which gives the phonetic
6 strokes, instead of 7, and makes one mistake for
(L. 119). It is a licence. K'ang-hsi numbered 6
strokes in , 7 in , then
6 again in- , etc. It is an inconsistency.
Fifth, series:
Ch'iu2. To search for, to ask, to implore. According
to the Glose, the primitive composition and meaning
of this character would be l i k e those of (L. 44 E);
; to seize, or to
hold by the tail
contracted (L. 100 B). The meaning, to beg, to pray, would come from
sacrifice of a b ull for impetration, as under the Chow Dynasty. Perhaps, in this
sacrifice, the offerer held by its tail the offered b u l l . — It seems rather that the
primitive sense, was , to offer hairs (L 100) of the victim, with prayers, as
was done in the ancient sacrifices. K'ang-hi wrongly classified under wa-
ter. — Phonetic series 263.
LESSON 46
A The first Series of this Lesson treats about the left hand . In the modern
writing, on the top of the compounds, it becomes ; af the b otto m, it becomes
, etc. It is never written (See LL. 44 and 135 H).
The second Series treats about some compounds, in which the right hand
placed on the top, became also in the modern writing. In their ancient form,
those compounds are made just like those given in the LL. 43, 44, 45.
LESSON 47.
A About the two hands. The simplification of this character, in the modern
writing, made many compounds quite unintelligible. See the examples given
below, and you may verify the remark. Any signs are good to replace ;
etc.
Kung3. The two hands joine d and held up, as when
presenting a thing:
It is the 55th radical.
First series.
Tsun 1 . To ofter a w i n e vessel t hat was held with
both hands;
T he scribe s changed into . See, L. 40 E, the
o r i g i n of t h e modern chuan-chu, noble, high, eminent.
— Phonetic series 713.
Yen3, To cover,
T
o join the hands, in
order to cover something; —
Phonetic series 496.
Second series.
In the modern writing, the hands are often mixed up with the object which
they hold. Among these compounds, that are now unrecognisable, some are very
important. The two following, J and K, are to be carefully distinguished.
Cheng4. Fire that can be handled, embers,
live coal, lit. grain of fire;
Compare , L. 46 I. It forms
Third series:
This is another series formed hy the hands mixed up with the object which
they hold. Though the object is not the same in the ancient characters, the
modern contraction is the same. The radical is at the bottom.
Peng4. To hold up (or to receive) respectfully in both
hands, as required by the ritual;
Note that at the bottom,
has only two transversal strokes, as in the ancient
character (L. 48). says the Glose, represents the
action of presenting something, while the two
hands represent the ritual reverence. —. Phonetic
series 354.
Tsou4. To i n f o r m , a m e m o r a n d u m . To present one's
Self (L. 60 V) before a superior, a n d to offer
to hi m one's advice; The (L. 78 A) is
symbolic, — P hon et i c series 482.
Fourth scries. O t h e r m o d e r n c o n t r a c t i o n s of
Kung 4 Generally, all, altogether. Action in common
, symbolised, in the old character; by four
hands joined together, and in the more, recent form,
by twenty pairs of hands;
See L. 74 C. — Phonetic series 225.
Pao4. i n s o l a t i o n , e x p o su r e to the s u n ; to s p r e a d
out the grain . w h e n the su n is risen . By
e x t e n si o n , a n y intense, violent action or influence. —
P h o n e t i c series 809.
H a n 2 . Cold;
A poor m a n , who tries to
protect h i m s e l f from frost, (L. 17 A), in his
shelter, by b u r y i n g himself in straw. — Phonetic
series 530, in w h i c h the top is the s ame as in the de-
rivatives from sai1 ( a b o v e T) ; gives room to the
radical, v.g.
Gh'ien5 To go lame;
134 Etymological Lessons. 47.
Ch'eng2. To
present,
Sec (above L), the composition and meaning of
w h i c h are n e a r l y identical; instead of , there is
representing any object whatever.
LESSON 49
About the hand, not raised up, but prone.
LESSON 50.
Chu3. To raise;
LESSON 51.
About two primitives, which were united on account of their resemblance in the
old writing, fang1 and ch'u1.
LESSON 52
Chao4. P ri m i ti v e m e a n i n g , , to j u d g e accor-
d i n g to the Chinese way, viz. to chide a n d to
make some a m p utati o n. Compare the similar
composition of a n d , L. 39 E. By extension, to
cite, to sen d for, to call. — Phone tic series 105
See L. 18 B, L. 16 B, etc.
Do not mistake for , the contracted, e.g. in . See the whole Lesson 28.—
However has somet ime s, but seldom, this form. See L. 55 G.
LESSON 53.
Compare L. 135 C.
144 Etymological Lessons. 53.54.
See L. i'O E; L. 38 F; L. 90 A.
LESSON 54.
In the first part of this Lesson, a particular form of the primitive (L. 25)
will be studied. The second part is dev o te d to the primitives the
compounds of which resemble those of in the. modern writing.
First part.
P a o 1 . A man who bends to enfold an object;
To wrap up, to envelop,
to contain; a bundle, a whole. — It is the 20th radical
of characters relating to wrapping and enclosing.
Note that in a few modern characters, is written
like ( 1 4 t h radical); vg. (L. 167 C), (L. 69 G),
etc. The following compounds form important groups.
Second series:
C h i u 1 . A p r i m i t i v e , i n t e n d e d to represent the tangle
of creeping plants; By
extension, c u r v e d, crooked, entangled. — Phonetic
series 5. In the modern writing, is sometimes re-
placed by e.g. for ; it is a licence. From ,
a n d not f r o m , comes
It forms
4
Ching . Deferential behaviour,
reverence, reserve, modesty
in t h e presence of the
a u t h o r i t y ( t h e h a n d h o l d i n g the rod, L. 43 D). —
P h o ne t ic series 192.
Pei 4 . Pi4. To prepare, to make
r e a d y a l l t h e t h in g s necessary,
with mode sty. This is m e a n t
for women, on w h o m devolve the
preparations, the care of the
h o u s e h o l d . The is contracted,
g i v i n g room to . Now . The engravers
strangely altered t h i s character. Some specimens
of t h e i r sk ilf u ln e s s m a y be seen her e:
Shao2 A p r i m i t i v e r ep re se nt in g a k i n d of spoon,
t h a t was used to d r a w u p ; — (L. 1, 4 ° ) represents
the contents; — Phonetic
series 27. It f o r m s
LESSON 55
2
FEI. Fleshy , m u s c u l a r , j u s t as m u c h as it is
proper, for t h e sacrifices, for t h e tab le. The just
measure of flesh ;
LESSON 56.
The answer
received was considered as most certain, most firm, a n d most immutable, hence
the derived meanings : i mmu tability, constancy, perseverauce in purpose generally,
and specially in the. purpose of keeping continence ;
— Phonetic series 423.
Etymological Lessons. 56. 57. 151
Chao4. N u m e r o u s c r a c k s on a tortoise-shell ;
In the middle, in its ancient form ; on
each side, two other crac ks; the first left crack is
c o n f o u n d e d with the vertical stroke of . By exten-
sion, an o m en, a num ber. now a m i l l i o n - — Phonetic
series 178.
Note: Like a l l the characters s i m p l e and easy to write, is used by the scribes
as an a rb i t r a r y a b b r e vi at i o n for the most different ele m ents. It represents a bi rd
in ( a n c i e n t f o r m ) L. 41 D; t h e a n t e n n a e of an insect L. 23 G; the p e d u n c l e
ot a f r u i t L. 41 E; a rod L. 43 I). - Note also that has n o t h i n g in common
w i t h ; it is a m o d e r n c o n t r a c t i o n of L 47 H. — K'ang-hsi w r o n g l y place d
severa l among those a b b r e v i a t i o n s u n d e r the 25th radical.
LESSON 57.
First part:
T i n g 4 . A nail (head and tack). It is now written
Tin g 4 , to n a i l ;
Is used, on account of its simplicity, as
a numeral sign, for u n i t y , and f o r other different chia-
c hieh. - Phonetic series
11. — It forms the important compounds t'ing 2 , L. 75 B; a n d ch'eng 2 , L.
71 M. But ning2(L. 36 C) comes from (L. 58 A ) , a n d n o t f r o m . Item,
(L. 63 B) has nothing in common with
152 Etymological Lessons. 57. 58.
Second part:
Chu4. Storehouse, to warehouse. It is now written
. The old character
LESSON 58
It forms
Hui The roaring of the
tiger. To cry, to call for. —
Phonetic series 615.
Etymological Lessons. 58. 153
Second series:
Yu2. The breath having overcome the — obstacle,
spreads — in liberty. A particle of transition, a
preposition; t alk, show;
Phonetic
series 38, u n d e r its two forms. It makes
Ho1. A synonym of
It is now obsolete. It forms the important
compound
LESSON 59.
Chai3- A m a n who, w h i l e c l i m b i n g up a
stiff
slope, bends forward. By extension, inclined, slanting,
sloping; It forms chai4: the sun,
leaning towards the horizon.— Inverted, becomes
Second series:
Yen 3 . Comp a re the h ut , L. 36 A. is h a l f of a
hut, a shed, a shop. — it is t h e 53th radical. See
L. 24 M, etc. It forms
LESSON 6O.
About the primitive and its derivatives. ln the ancient writing, has two
forms, for which we reserve two distinct series.
First series: the Drst form.
Ta4 A primitive. A grown up man standing (body,
legs and arms); By extension, chuan-chu,
the stature of an a d u l t (by opposition to the child's
stature), great, tall; But in composition,
means a man, and not great. — It is the 37th radical
of miscellaneous characters. It forms
Tien3. To outrage;
(L. 107). —Phonetic
series 389
T'un1. To gulp down.
(L. 72).
Yang1. A m a n in t h e m i d d l e of t h e space
(L. 34 A). M i d d l e , centre. There a r e d i f f e r e n t chia-
chieh — Phonetic
series 168
P Note; Do not mistake for a c ertain cover, similar to the first ancient
form of , which is also written in the modern writing, e.g. in , etc. See
L. 38 F, G.
160 Etymological Lessons. 61.
LESSON 61.
The two following compoun ds, often confounded in the modern writing, are to
be carefully distinguished :
Chen3. Hair of a man, says the Glose;
— Phonetic series 106.
Ti2. A pheasant,
— Phonetic series 791. See t'iao4 and
ti2, L 78 E.
LESSON 63.
Inverted, gives
4
Ch'u . To fi ni sh the step, by br i n gi n g forward the
right foot; It has
nothing in common with ting4, L. 57 A.
LESSON 64.
bird? We do not know. Anyhow, two new characters were made: feng4, the
2
phoenix; and p'eng a monstrous bird, like the rakh or roc of Arabian story
166 Etymological Lessons. 64 65.
LESSON 65.
Chien 1 . Shoulder; In
the
ancient characters, represents the whole of the
p ectoral and the scapulary muscles, the line that
springs from them representing the arm. In the
m odern character, the shoulder-blade is outlined. The
s cribes strangely contracted it into . It is uncon-
nected with L. 129 See L. 75 K.
LESSON 66.
1
About the primitive chou . Us contracted form is to he distinguished from
yueh4, L. 64; a n d from. jou 4 , L 65.
C h o u 1 . C an o e , vessel, b o at of a n y sort. The first
canoes, says the Glose, were trunks of trees hollowed
out;
It represents a k i n d of
canoe, st r a i g h t e n e d , to t a k e less room. Turned up
how, deck p r o p p e d up by a pivot t h a t represents the
i n t e r n a l wood-work; an o ar on front, a h e l m behind
t h e boat, w h i c h is opened, to mean t h a t t h e h e l m
goes b e y o n d . — It is t h e 137th radical of characters
r e l a t i n g to vessels. It forms
LESSON 67.
— It is t he 80th radical.
Ai3. A man (24 C)
who behaves badly;
contined, or
w o r t h to be so: a d e b a uc h e e ;
LESSON 68.
A boar's
head, grain, silk, the whole being offered with
the hands,
LESSON 69.
About the primitive shin3. An appendix will treat abont hai4 and hsiang4.
LESSON 70
About two primitives, chi2 and chi 1 . The latter is to be distinguished from
4
wu (L. 29 K ) ; as well as f r o m or at the bottom (LL. 18 a n d 47).
LESSON 71.
About the primitive i4. Special series are reserved for the important derivative
1
ko , and its numerous family.
Ch'ien 1 . See L. 27 B.
LESSON 72
See LL 39 B, 39 G,
82 A. In the. modern form, was changed into ,
by a fancy of some, scribe. It forms
LESSON 73.
Ch'ang 1 E m a n a t i o n , sw arming, u n d e r th e
sun's heat ( L 143); by extensi on, prosperity, splen-
d o u r , glory. — The ol d forms f i g u r e sun and
moon, light a n d l i f e . — Phonetic series 322.
See LL. 26 D; 40 D.
Etymological Lessons. 73. 185
1
Second series: kan .
Kan 1 . Sweetness of so m e thing held in the
m o u t h ( L . 1, 4°); good, sweet; by extension, satis-
faction, affection;
— It is the 99(h radical of few characters
r e l a t i n g to sweetness. Phon etic series 129 It forms
M u 3 . The t hi n g sweet to the taste, the f r u i t s
that grow on trees;
It is used now, by a mere con ventional chia-chieh,
to mean, a certain person whose name is unknown,
or respect or c a u ti on forbids to use, mu-jen;
Phonetic series 467.
Shen4 In the more ancient form, what was
agreeable to the taste. In the more modern form,
affection for the being th at makes the pair
(s exual) See L. 42 A. This affection being very great,
says the Glose, hence the extended m eaning, superla-
tive, very, extremely, excessive.
Luan4 See L. 92 D.
Shang 1 . See L. 15 D.
Note: In the phonetic series 739, are enclosed some derivatives of another
compound, which the scribes confounded w i t h
LESSON 74.
Wei2. A r o u n d , a c i r c u m f e r e n c e , an inclosure, to
co n t ain; — It is t he 31th radical of
characters relating to enclosure s. To be distinguished
from the 30th radical , m o u t h Different compounds
of wei2 were already explained. Let us recall
Ch'iu 2 . A m a n i m p ri s o n e d See L 25 B.
LESSON 75.
About several series derived from wei2, viz. etc , that are
important and difficult.
4
Chiu Admiration (L 134 C), before something
e x a l t e d . By e x t e n s i o n , to go towards, to follo w,
consequently.
3
Ching . The sun very high; brightness; a vista,
3
a prospect. Forms ying , shade caused by an
object, intercepting light. — Another e x p l a n a t i o n :
the sun at the, capital Prognostics given by it
about t h e affairs of the Empire, state of things,
ci rcums tance s — Phonetic series 672.
4
Liang . The men of the capital,
more
enlightened than those of the provinces, advisors to
the Government, etc. By extension, clear, illumined.
The actual form is relatively modern.
the group is gathered, one gets a m i x t u r e of yang, un, wu, uo, etc. This
phonetic confusion betrays a p r i m i t i v e d iver sity of characters which cannot be
distinguished in the modern writing, b ut is manifest in the ancient forms.
acceptable, to be
roasted; Note the
compound shu2, shon2, the lamb roasted ( L.
126); by extension, well cooked, ripe. — Phonetic
series 644. Now is used chia-chieh, as an interro-
gative pronoun.
Tun1. Meek-minded, honest,
simple as a lamb, that is
beaten a n d does not cry; to
bear, to beat, etc. — Phonetic series
715.
Finally,
this c o m p o u n d became like a radical of shoes,
The first series of this Lesson is about , which is wei2 L.74, doubled. The
2
secoud series is about the primitive hui , that is often written by the mo-
dern scribes. To be distinguished from the series chiung3, L. 34 B.
First series:
Wei2. Hui2. Double fence (see kuo1, L. 75 H); a
vase hermetically closed. It forms very important
radical compounds, but no phonetic compounds. Those
lhat are sometimes attributed to it, belong to ,
below G.
Second series:
Hui 2. Image of an object (clouds, volutes of the
smoke) t h a t turns, that rolls, that revolves;
Abstract notion of revolviug, of return. The scribes
often write (L. 76 A). — Phonetic series 211.
It forms
LESSON 77.
LESSON 78.
About the primitive and its multiples. The complete series of the compounds
derived from this important element will be treated in the L. 73.
First series: simple.
Ch'e4. A plant that sprouts from its grain; the
minimum of a plant; at the bottom, the root; on the
top, the culm; on each side, one leaf;
it is often used as a symbol, either to
represent any object
(L. 44 H), or to mark a point (L. 59 F). — It is the 45th radical of characters
mostiy referring to springing plants. In the modern writing, the scribes disfigured
this element in the most fanciful ways. See, for instance,
L. 44 H, etc.
T'ao1. To hold. A hand holding an object;
1
Forms t'ao , a bow-case, a
scabbard, etc.
Ch'en3 An insect that crawls (L. 110), the
head being raised ( beak and feelers). There are
unimportant compounds. Not to be confounded with
ch'ih1, L. 79 B.
200 Etymological Lessons 78.
LESSON 79.
This Lesson, one of the most intricate, is reserved for the important series that are
derived from (L. 73), viz.: etc.
By
extension, the difficult beginning of an establishment, a foundation, a village, a
camp. — Phonetic series 85. It forms
— Phonetic series
849.
204 Etymological Lessons. 79.
inverted forms
Tsa1. To go r o u n d ; to perform a circuit or entire
revolution; as which turned on its axis;
In the modern times, this cha-
racter was changed by the scribes into ;
Note.
In its modern contracted forms, wang3 might be
confounded w i t h chu3, master, L. 83 D; a n d with
2
wang , king, L 83 C. In the first case, the sound
prevents a n y mistake. In the second case, the dis-
tinction is not easy, the two phonetics being
homophonous. See phonetic series 87 and 115. Note
the derivatives
LESSON 80.
1
About the primitive shan .
Shan1. Mountain. On the top, three rocks;
— It is the 46th radical of charac-
ters relating to hills. Phoneiic series 25. — This
character is to be distinguished from certain modern
contractions, e.g. L. 164 B, L. 165 B, etc. See
L. 25 I, hsien1, the genii, the men who dwell
on the mountains. Sometimes a symmetrical pho-
netic is introduced in the radical , e .g. L 90 D,
L. 69 J.
Etymological Lessons. 80. 81. 209
LESSON 81.
About the primitive t'u3, and its multiples. A special series is reserved for
ting3.
K u a i 4 . To clear l a n d , changing
t hus his
appearance; new, strange;
Forms kuai*, moral
singularity; singularity in general;
The Emperor sat on his throne before the inner door, the
ministers were standing in two lines, on the left and the right side, in the court-
yard. Each of them held in his hands the sceptre, sign of his dignity. See LL. 55
A, B; 85 F; 81 G. — Phonetic series 305.
Forms
by substituting to :
Wang4. This character has two different meanings. —
1. The f u l l of the moon, after which the moon
decreases. — 2. To look at, or forward, or towards, to
desire; in this sense, it is cbia-chieh for the last.
LESSON 82.
About the primitive kung1, and its important derivatives, jen2, chu4,
2 4
ch'en , ya . Two other primitives, i2, and t'ou3, will be incidentally
explained.
— Phonetic-series 66.
4
Jen . A b u r d e n , a charge, to bear, etc. It is used
for . The tone was changed: —
Phonetic series 215.
It forms
LESSON 83.
About the primitive yu4, jade; and incidently, about the analogous characters
2 3
wang and chu .
First series: yu4, often written
Yu4. The half-translucid minerals, milky or coloured,
as jade and others, of which the Chinese are so fond;
They ascribe to it different effects, and
make with it articles worn at the girdle. The character
represents three pieces of
jade threaded;
The addition of a dot is modern, and made in order
to distinguish yu4 from wang2. — It is the 95th radical of characters relating to
gems It is found in many compounds, e.g. lung4, neng1, to handle an
object made with jade , L. 4 7 F.
216 Etymological Lessons. 83.
1
Pan . Veined (L. 61 F), like certain nice
stones.
1
Pan . Division of charges, of offices. The middle is
(L. 52) in the sense of (L. 1 8 ) to divide.
The two are two jade sceptres, signs of dignities.
L. 55 H.
2
Ch'in . Harpsichord of soniferous stones, hanging
from a string. See Textes Historiques, p. 82 (one
stone). The ancient character represents two stones,
and the suspension string (a prim itive ). Compare L. 17 F —
The following cha-
2
racters are said to he derived from ch'in (radical contracted; the phonetic is at
4 4 2 1
the bottom): ch'in , she , p'i , pa , etc., different kinds of citharas
or harpsichords.
LESSON 84.
Note. The derivatives of chi3 are often scarcely distinguishable from those
of ssu4 a n d i 3 (L. 85), when these are wrongly shaped; as well as from
those of (for L 55), as in . K'ang-hsi wrongly classified this character
under chi3. On their side, the scribes commonly maltreated those series, as may he
seen by the characters given above.
LESSON 85.
About two primitives, ssu1 and i3, to be distinguished from chi3, L. 84.
K'ang-hsi gathered under the 49th radical , all those heterogeneous elements.
Ssu4. Sacrifice
See L. 3 D
C 1. written , e.g.
D 2. written , e.g.
Ssu4. Plough-beam a n d h a n d l e ; the wood that
fertilizes the fields. It is unconnected with L.
86 B.
LESSON 86.
About two primitives, t h a t really form o n l y one, because they differ o n l y by plus
or m i n u s strokes of the same k i n d ; fu4, and tui1.
LESSON 87.
About the primitive kung1, and incidentally about the primitives fu4 and
4
ti . that resemble it in the modern writing.
Note 1. The bows were kept by pairs, fixed upon a s t i f f piece of wood, in a
sheath. Hence it comes that, sometimes, in composition, two mean a pair, or
that which makes the pair, a second ; as in
Note. tzu3 that Is like ti4, has nothing in common with it, nor with
See L. 79 G.
LESSON 88.
LESSON 89.
About the primitive ssu1. See the Note, below B. Compare LL. 90, 91, 92.
Ssu1. A cocoon. It represents a silkworm that coils
Itself up, and shuts itself in its cocoon. By extension,
selfish, to care o n l y for one's self, separation, private,
particular; —
It is the conventional 28th radical. The following
compound replaced in the modern writing
Ssu1. Etymological meaning, my share of
grains. By extension, private, personal, partial, selfish;
— Note also
Etymological Lessons. 89. 90. 225
4
Ch'uan . To calculate (L. 47 G) one's own
advantage (at the others' expense). To embezzle, to
assume, to usurp.
B Note. The scribes used as an abbreviation for three
other primitives
(LL. 38 E, 38 H, and 85 E), which makes four in a ll; hence an easy confusion
between them. Further, the scribes still use arbitra rily for other intricate
characters, in which case is an abbreviation, and not a primitive. Note the
following
Shen1. Orion. L. 62 G.
LESSON 90.
LESSON 91.
About two compounds of (L. 90), and' , that form important series.
2
First series. hsuan .
Hsuan2. To put (L. 15) the thread in the
dye; dyed thread; green colour (later on, the black
one, on account of certain Taoist theories). Under the
Ch'ing Dynasty, the of was suppressed,
because this was the personal name of the Emperor
K'ang-hsi. An ancient form was composed of
thread (L. 92), and of two points that mean the
dyeing; — It is the 96th radical.
Phonetic
serins 124. — In composition, means, either green,
or a siring (probably because the thread was dyed
by big hanks). Note the derivatives
LESSON 92.
About the partial primitive , and its derivatives. See again the whole series,
after ssu1, LL. 89, 90, 91, 92. The textile matters, chiefly the silk, interested
the Chinese from the remotest a n t i q u i ty ; hence the importance given to these
elements in their writing.
First series. mi4.
Mi4. A strong t h r e a d ; The bottom of
this character (a p ri mit i v e) represents the twisting of
several small threads i nt o a big one (L. 90 A). — It is
the 120th radical of characters relating to textile
matters or tissues.
We saw t h a t e l e m e n t in L. 40 A ; L. 55 G;
L. 17 E; L. 13 H; L. 79 G; L. 67 P; L.
39 0; L. 35 M; etc.
Hsi 1 . Drawing out of the thread. Primitively, a
hand drawing out threads . Later on, the action
of drawing out a t hread. By extension, thread, line,
succession, rel atio n, to tie again, to fasten;
The
compound is used instead now. N o t e the derived
f o l l o w i n g radicals
Mien2. Fibres raw (L. 88 A), raw floss. It is
contracted phouetic in mien2, cotton; and in
2
mien , the cotton plant. These are modern characters.
See phonetic series 386.
Sun1. A grandson, posterity. The connecting line
of the offspring;
— Phonetic series 569. It is phonetic
contracted in kun3, big fish.
Yu2. Succession, seq uel, causality, relation;
Winding of the effects
from a cause; moral threads.
Hsien4. Hsuan2. The chief-town of a district, hsien4,
where the executions take place, and where are hung,
upside down, the (L. 12 N) heads of the men
beheaded because they committed crimes. By
extension, hsuan2, to bi nd, to suspend, to be suspen-
ded. Now, the compound , to be in suspense
morally, is also used for the simple ia the sense, to
hang, to be suspended,
Etymological Lessons. 92. 231
conspicuous. It is
now used for , to appear. The latter is contracted in
Sbih1. A marsh, marshy, wet, humid;
water in which the earth appears; is
for ; the were suppressed, to give room
to
232 Etymological Lessons. 92. 93-
LESSON 93.
About the primitive
Yun 2 . Clouds. The a n c i e n t form, t hat represents
vapours c url i ng a nd rising, is a primitive. The more
recent f o r m is composed of ( , L. 2 G ) the skies,
a n d of t h e same pr i m i t i v e . — P ho netic series 99.
Now the m e a n i n g clouds is give n to the following,
while means chia-chieh, to speak, to enumerate,
etc.
Yun2. Clouds;
When
the humid and warm vapours have reached the colder
regions, they are condensed there. Not a bad expla-
nation of the production of clouds.
LESSON 95.
LESSON 96.
By extension, strength of e x p a n s i o n ,
natural activity, mental capacity, power, talents,
endowments or gifts; the substance of a thing.-—
Phonetic series 30. It forms
Ts'ai2. Materials of which things are made
From wood and talent, the wood being the
first material worked by m en.
Ts'ai2. Property, precious things, wealth; the
cowries acquired by a man.
It forms
4
Ch'i . To c u t a notch w i t h a knife, in a lath that
w i l l be used as a record, a d o c u m e n t , or a proof;
— Phonetic
series 181. It forms
Ch'i4. The title deeds of a
man;
A covenant, an agreement, a bond,
a contract, — Phonetic series 426.
LESSON 98.
LESSON 99
LESSON 101.
About two primitives and
First series. wu4.
Wu4. Three pennons attached to a stick; a flag;
By extension, 1. Jerky motions, as that of
pennons agitated by the wind (L. 52 F); 1. A decree,
a prohibitio n, a defence, an order made to soldiers
with a flag; 3. Objects laciniated or foliated; sudden
rays. K'ang-hsi wrongly classified this primitive under
. — Phonetic series 90. It forms
LESSON 1O2.
Sub-series. nieh4.
Nieh4. A man (L. 60) who committed a
crime; a criminal;
Not to be confounded w ith hsing4 (L. 102 D); both
are now written in the same way. Not to be. confounded
with t'a4 (L. 60 C). Note the derivatives
250 Etymological Lessons. 102.
Sub-series hsin1.
Hsin1. Composed of and (ancient form or
L. 2 G); to offend one's superior; and
the consequence of it, chastisement, pain, bitterness;
The ends of the
first horizontal lines are generally turned up, the
scribes deeming is to be more gracious iu that way. —
It is the 160th radical. It forms
Tsai3. A criminal at the tribunal, judged and
chastised;
By extension, to govern, to judge, to
order the legal tortures, to slaughter. — Phonetic
series 574. — Tsai3 contracted in to is phonetic
3
in tzu , Roltlera japonica, a hard wood, instru-
ments for torturing were made of.
Etymological Lessons. 102. 251
Ch'an3. A sheep-fold;
(L. 32 G) By extension, crowd, press.
LESSON 104.
LESSON 105
LESSON 106.
LESSON 1O7.
LESSON 108.
LESSON 110.
—
Moreover, there are who say that the magicians make a poison slow and sure, by
grinding in a vessel different sorts of venimous worms. This seems to be
rather a legend.
LESSON 111.
LESSON 112.
Second series. tsu 4 .and shu2, both being composed of the foot,
increased with a symbol
Tsu4. A foot at rest. By extension, feet in general.
The stillness is represented by the closed . Compare
below C.
It is the 157th radical (two modern
forms). Phonetic series 310.
T'u2. To go;
Ts'ung2. To follow;
Fifth series.
inverted is not used alone, but forms, when
combined with straight, two important series. In
the first, G, th e two forms are superposed, a nd
inverted is now written (not to be confounded with
, nor with , L. 18 H, M). In the second, H, the
two forms placed in juxtaposition are now writte n
LESSON 113.
About the primitive
LESSON 114.
LESSON 115.
Suc
h
was the custom in antiquity. See Textes Historiques, p. 25. The system was
abolished, and the character is now used to mean, a well. — Phonetic series 49.
It is phonetic in
270 Etymological Lessons. 115.
is still found in t'ung2, scarlet red; and in chart1, a red banner (L. 117).
LESSON 116.
LESSON 117.
About the two primitives and , that resemble each other in the modern
writing, but that elymologically have nolhing in common.
This character is
sometimes used for kan1, dry. It is a licence. In that
sense, the character is to be used, in which
(L. 102) means the-drying of the dampness.
Kan4. A rod very long: by extension, power,
capacity. The second form is more recent, and com-
monly used. It is an absurd phonetic redundancy,
the radical being suppressed;
LESSON 118
LESSON 119.
Hsien2. Threshold.
From wood, and door;
LESSON 120.
LESSON 121.
LESSON 122
LESSON 123.
LESSON 124
LESSON 125
LESSON 126.
About the primitive
First series. huo3.
Huo3. Fire. Ascending flames;
— It forms the 86th radical of a large group of
characters relating to heat. Note the modern contracted
form that is used in combination, at the bottom of
the compounds. See the compounds already explained,
L. 65 G, L. 74 P, L. 121 C, L. 46 I,
L. 59 G, L. 12 I, L. 119 O, etc. Note the
following:
Second series. contracted in the modern writing. The ancient forms are
like those of the first series. See L. 24 J, L. 32 B, L. 50 O, L. 47 J,
L. 41 A, etc. Note the following:
Shen1. The Chinese hearth, a small hole (L. 37)
under the caldron, in which the hand stirs the fire
Hence the derived meanings,
deep, profound, abstruse, etc. Note deep water;
to explore, to fathom. The scribes arbitrarily omitted
the upper dot of , and combined and into
Fifth series.
Yen2. Many lamps. Compare (above D). It
forms.
LESSON 127.
C h u a n g 4 . A stout
A prop. It is found in
LESSON 128.
—
Phonetic series 357.
LESSON 129.
A b o u t the prim itive
First series. hu4, and its compounds.
Hu4. One leaf of a door, the half of the character
men2 (below C); a shutter;
It represents the thing. By extension, house, family. —
It is the 63th radical. Phonetic series 63. — See
L. 62 I; L. 128 A; L. 156 D; etc. It forms
LESSON 130.
LESSON 131.
In
a more recent form, used for the hand, was
substituted to . to the detriment of the meaning.
— Phonetic series 560.
LESSON 132
LESSON 13».
By eiten-
sion, to go to, to arrive, to reach, etc. — It is the
133th radical. Phonetic series 186. It forms
LESSON 134
LESSON 135.
LESSON 136.
LESSON 137.
LESSON 138.
LESSON 139.
LESSON 14O
LESSON 141.
LESSON 142.
Chieh3. To divide, to
undo, to solve. A bodkin
made from the horn of an
ox, and used to
untie; — Phonetic series 725.
LESSON 143
LESSON 145
LESSON 146
Kan 3 . To dare, h o l d , i n t r e p i d . . . On t h e l e f t , t h e b e a r
(I.. 27 J) whose paws were suppre ssed to g i v e room.
The modern scribes altered t h i s p r i m i t i v e . On t h e
r ight, a h a n d t h a t w h i p s a n d provokes t h e hear. —
P h o n e t i c series 622. It forms yen3, to a t t a c k a b e a r
in its cavern, w h i c h operation does not go w i t h o u t
On cries a n d ho wlin gs. Hence
LESSON 147.
LESSON 149.
Lei3. To b u i l d , by p i l i n g up pises.
LESSON 150.
LESSON 151.
About the p r i m i t i v e
Yu2. It represents t h e g e r m i n a t i o n of a f r u i t - s t o n e ,
of a large grain; r e p r e s e n t s t h e g r a i n , on t h e t o p
of w h i c h the. germ is c o m i n g u p ;
By extension, beginning, principle,
o ri g i n , starling p oi n t, cause, to produce, etc. —
Phonetic series 170. See its r a di ca l c o m p o u n d s yu2
2
(L. 55 K ) , and, p'in (L 58 C).
LESSON 152
LESSON 153
LESSON 154.
LESSON 155.
LESSON 156.
By «tension,
flat, those inscriptions being written upon a tablet. —
Phonetic series 473.
LESSON 157
LESSON 158
See L. 48 C; L. 7 A; L. 34 J; and L. 10 K .
L; L. 118 D;
L. 37 F ; L. 26 L; etc.
See L. 16 L; L. 27 K; L. 10 O ; L. 97 F; L. 34 J, etc.
See L. 54 1, and L. 176.
Etymological Lessons. 158 323
Shuang 1 . Hoar-frost; ,
— Phonetic series 834.
—
Phonetic series 489.
324 Etymological Lessons. 158.
Second series. bent.
LESSON 159.
LESSON 160.
LESSON 161
The character represents the shell, and its propulsive apparatus. — It is the 154th
radical of characters relating to values and trade. Phonetic series 298.—Many
compounds (of this primitive, were explained elsewhere. Let us recall L. 52
E; L. 153 A; L120 H; L. 1 1 1 B; L. 130 D; L. 14 M; etc. Note
the following:
Pai4. Ruin; to ruin; to break, to crush one's
LESSON 162.
LESSON 163.
LESSON 164.
LESSON 165
Shu4. A tree
Ch'u2. Cookery;
— Phonetic series 800.
LESSON 166.
LESSON 167.
LESSON 168
LESSON 169.
Chin1. A ford,
LESSON 17O.
About the two primitives and
LESSON 171.
LESSON 172.
About the partial primitive
Yin2. Behaviour, gait, ritual politeness;
In a house, a man (a special primitive, stiff
bearing, on the top, a cap) pays salutations with both
hands. The modern character is a contraction. —
Phonetic series 661.
LESSON 173.
LESSON 174.
LESSON 175.
LESSON 176.
The figures given refer to the Lessons, and the letters to the paragraphs.
7B 18 26 B
A
1 8A
2 29 A
19 A
1A 8B 2A 30
20 A
4A 9A 10 B D
2'2 A
6A 9B 12 D 33 A
23 A
6B 10 A 13A 34 A
24 A
6C 11 D 15 34 H
25 A
7A 12 A A 38 B
342 Usual Groups. 2, 3 strokes.
38 H 58 I 24 E 52 A 72 A
kung
85 E 59 A 24 H 54 H 74 A
i
89 A 86 A 26 A 54 H 77 A
ssu fu
39 A 74 C i 29 K 58 E 78 A
94 H
39 B 30 A 58 E 79 B
43 B 31 A 59 80 A
3
46 B 31 B E 81 A
3A
51 A 31 C 59 I 82 A
5A
52 A 31 D 60 A G 84 A
5B chi
52 A 32 A 61 A 85 A
10 E ssu
52 A 33 B 61 C 85 A
10 E i
53 A 34 I 62 A 87 A
11 B
54 A 35 A 63 A 90 A
12 E chin
54 F 35 H 63 B 90
12 E lian
55 g 63 D A
14 A 36 A
H 64 A 94 H
17 F 44 A
55 B chung 67 A 96 A
45 B
K 18 H 68 A 98 A
45 H
55 K 21 A 102 A
68 A
47 B
56 A 24 C 70 B 103 D
Usual Groups. 3, 4 strokes.
34
3
107 B 22 39 A 52 B 73 A
112 F D 39 G 54 E 76 1
125 A 24 42 A 55 B L 78 B
134 A H 42 A 55 C 79 A
24 N 43 C 55 H 35 B
fu
4 25 G 43 D 58 D 79 B
shi h
3D 26 D 43 E 59 E 79 G
fei
10 G 26 E 43 G 59 11 79 C
11 E 79 G
26 C 43 60
12 I 27 A O C 79 H
13 B 27 1 53 P 81 D
60 J
t'irig
13 I) 28 H 44 B 61 B 82 C
jen
14 K 29 E 44 C 61 C 79 D
wang
15 C 29 H 45 I 61 E 83 A
yu
18 B 30 D 47 B 61 F 83 C
wang
18 C 32 F 48 Y 64 G 83 D
yueh chu
18 F 33 B 48 II 65 A 85 E
ju
18 M 34 E 48 A 87 A
67 K
19 B 34 J 49 A 93 A
68 A
19 D 34 K 49 A 94 E
344 Usual Groups. 4, 5 strokes.
95 A 115 D 24 D 38 F
95 B 116 A
5 24 F 38 H
97 A 117 A 3D 24 0 40 E
97 C 118C 10 F 25 B 41 A
98 A 119 A 10 G 25 I 42 A
98 B 125 A 10 26 F 43 H
98 B 126 A G 27 G 43 J
99 126 A 14 I 27 II 43 M
A 127 A 14 I 27 H 45 C
99 E 127 B 15 B 28 E 45 J
100 A 128 A 16 A 28 H 46 B
101 A 129 A 17 F 29 D 46 G
107 A 129 A 18 D 29 J 47 H
109 A 130 A 18 E 30 C 48 B
112 A 132 A 18 G 32 B 49 I
112 E 133 A 18 32 C 50
112 K 134 A O 34 B C
112 L 134 C 18 O 35 C 52 C
114 A 143 A 19 37 A 53 D
115 A 147 A C 38 C 54 B
Usual Groups. 5, 6 strokes.
34
5
55 A 67 0 87 D 116 A 145 A
ch'ing
55 D 71 B 88 A 118 B 149 A
55 K 71 D 90 118 C 151 A
56 B 71 L A 118 D 152 A
56 F 71 M 91 A 119 D 153 A
57 I! 72 A 94 B 120 A 154 A
58 B 73 B 95 C 120 B 156 A
11 26 I 38 D 49 I 65 C
G 26 K 38 D 50 F 65 D
12 F 26 K 38 F 50 G 66 A
12 J 26 L 39 C 51 A 67 B
12 J 26 M 40 A 51 B 67 D
12 L 27 K 40 C 52 D 67 0
12 M 28 D 40 D 53 B 67 I
14 29 F 41 B 53 E 69 K
B 30 C 41 C 54 E 70 A
15 B 30 E 41 D 56 D 71 C
16 A 30 E 43 N 58 G 71 G
17 B 31 B 43 Q 59 H 71 H
17 31 E 44 C 60 B 71 M
G
65 A 31 F 45 D 60 D 71 O
18 I
33 B 46 H 60 I 71 P
22 C
34 I 46 I 61 D 72 B
22 C
34 I 47 J 62 E 76 A
24 C
34 J 47 K 63 C 76 H
24 I
36 E 47 V 64 B 77 B
24 J
37 E 49 E 64 E 77 B
25 D
Usual Groups. 6, 7 strokes. 347
78 B 99 B 120 E 18 M
7
78 F 102 C 120 H 20 E
114
C 2C
79 B 122 A 23 B
102 D
11 F
79 B 122 B 25 F
102 E 60 H
11 G
79 D 124 A 26 L
103 A
12 C
81 B 125 E 26 M
106 A
82 C 130 12 F 27 D
110
C 12 H
82 E 27 E
A
133 B
85 C 13 B 27 F
111 A sha chia
135 A
85 E n 27 I
112 A 14
138 C
85 V C 28 J
114 C 148
138 C
86 B 14
114 C 29 C
139 E
87 B L
115 A 29 D
143 E
88 B 14 Q
115 B 29 E
146 A
90 15 C
115 B 29 H
147 B
D 16 B
116 B 30 B
148 B
92 A 17 C
117 B 30 E
157 D
96 17 F
118 A 32 F
159 A
D 17 H
118 C ch iao 34 I
164 A
96 18 E
348 Usual Groups. 7 strokes.
35 F 49 C 74 C 92 B 112 L
35 I 49 1 75 A 94 B 113 A
35 M 50 A 75 D 94 F 114 C
38 F 52 F 75 F 95 A 118B
39 A 53 C 75 G 97 A 118C
39 H 55 K 75 K 97 H 118 D
40 D 55 K 79 B 99 C 119 B
41 A 58 C 79 D 100 B 119 I
41 D 60 G 79 D 100 B 119 I
41 G 60 N 79 G 102 A 121 G
42 B 61 A 81 A 102 H 123 A
44 C 64 F 81 F 104 A 127 B
44 L 65 E 8t H 106 A 129 A
45 G 67 F 82 G 108 D 131 C
45 J 67 H 84 A 109 D 132 B
45 67 L 85 C 112 A 133 A
K 67 P 85 E 112 B 134 A
47 D 69 A 87 E 112 D 134 C
47 E 71 Q 89 A 112 E 135 B
47 F 73 C 90 112G 142 B
Usual Groups. 7, 8 strokes.
34
9
146 B 13 E 28 I 43 R 54 C
149 A 13 F 29 B 44 E 54 D
149 D 14 31 F 44 F 55 E
153 B C 32 A 44 G 59 H
156 B 14 G 32 C 44 H 55 K
156 H 14 1 34 I 44 1 56 E
158 C 14 N 35 E 44 K 58 I
160 A 14 P 35 I 45 C 59 B
161 A 14 T 36 B 45 E 60
165 A 16 K 36 E 46 E C
166 A 16 M 36 E 47 G 60 I
167 A 16 M 38 C 47 K 60 M
17 I 38 D 47 L 64 D
8 17 J 39 C 47 W 64 F
2D 18 C 39 C 49 B 64 1
10 C 18 G 39 J 49 D 65 C
10 K 20 C 40 C 49 E 65 F
11 C 21 D 41 B 50 E 65 G
12 K 24 F 42 C 50 G 66 C
13 C 27 B 43 D 52 F 67 E
350 Usual Groups. 8, 9 strokes.
70 82 E 106 B B 14 3
C 82 F 109 C 125 A C
71 K 83 B 112 I 125 B D
73 A 86 C B 126 D 146 F
74 C 88 A 115 1 27 II 150 A
75 C 91 K B 128 A 156 C
76 B 94 E D 128 A 163 A
79 K 102 G C 133 A 7A
13 E 26D 40 C 55 H 73 B
13 E 26 M 41 A 56 C 73 B
13 I 26 M 41 D 59 H 73 D
14 F 27 I 41 E 59 H 73 E
14 F 29 H 41 60 H 75 A
16 C 31 B G 60 75 B
17 G 31 B 43 I K 75 C
17 H 31 G 45 G 60 L 75 D
18 M 32 46 D 60 75 D
19 B G 40 G O 75 E
19 D 34 J 46 I 61 F 75 G
20 F 34 J 47 M 66 D 75 I
cho
21 B u 47 P 67 H 76 H
65 B
23 D chou 48 C 67 J 78 A
35 K
23 E 48 E 68 K 78 F
37 B
24 49 F 68 F 79 E
37 D
B 50 G 69 F 79 F
37 F
24 F 50 N 71 P 79 G
38 D
24 M 52 E 71 P 81 A
38 G
24 54 E 72 K 81A
352 Usual Groups. 9, 10 strokes.
95 C 119 F 158 B 18 K
95 C 120 H 158 D 10 18 L
97 D 190 I 158 E 10 L 21 B
122 C B 12 J 25C
102 C
122 160 A 13 H 26 C
102 C
C 160 A 13 I 26 M
102 D
125 A 160 B 13 I 27 I
102 D
125 C 160 C 14 B 27 J
103 A
125 E 161 E 14 30 B
103 A
129 D 164 A C 30 E
Usual Groups. 10 strokes.
35
3
31 C 47 N 62 D 62 B 103 A
31 E 47 65 D 86 B 104 B
31 E O 66 86 B 106 B
34 F 47 T B 87 C 109 D
34 47 V 68 G 90 F 111 C
G
49 G 68 I 90 G 112 G
34 I
50 H 69 B 91 B 112 H
34 I
50 I 69 C 92 B 113 B
34 J
52 G 69 G 92 C 117 A
37 G
53 E 71 P 92 F 117 B
38 G
54 G 72 C 97 E 117 I)
40 C
54 G 75 B 98 A 118 A
41 D
55 H 75 D 100 C 119 H
41 E
55 K 78 D 102 B 121 I.
43 Q
58 I 79 B 102 D 125 C
44 I
59 C 79 B 102 I) 126 B
45 G
59 H 79 G 102 H 126 F
45 I
59 I 79 J 102 II 129 E
45 J
60 F 81 G 102 H 130 C
46
C 60 L 82 A 102 I 131 B
354 Usual Groups. 10, 11 strokes.
131 D 162 B 24 M 39 60
133 C 164 C 24 Q O E
134 A 165 E 26 J 40 61
135 G 167 D 26 M A F
135 168 G 26 M 40 62
H 26 M B C
137 A 11 26 N 40 D 62
138 B 10 D 27 A 41 B F
138 D 12 27 H 41 D 65
139 A O 27 K 44 B II
143 E 13 29 H 44 J 67
146 D C 31 B 44 J N
148 B 14 31 F 44 K 68
149 C M 32 B 45 J H
155 A 14 O 32 B 46 D 69
157 C 15 D 34 J 47 E
158 G 16 F 35 F N 69
159 A 17 E 35 M 47 E
159 B 18 L 36 E R 69
160 18 N 39 H 50 F
Usual Groups. 11, 12 strokes.
35
5
172 A
78 E 103 A 129 A 36 C
173 A
78 G 104 A 129 A 36 E
78 G 106A 131 C 36 F
79 H
12
106 D 131 F 38 G
10
79 K 110 B 132 B 38 G
81 G H
112 E 130 A 39 L
81 H 10 I
117 B 136 B 40 D
82 I 117 B 138 A 10 40 D
91 C 117 D 138 C O 41 B
91 D 119 E 142 A 13 C 41 E
91 F 120 C 142 B 13 F 41 G
92 G 120 H 146 H 14 42 C
95 A 120 H 149 F O 43 J
96 C 120 K 153 B 15 45 F
97 D 123 B 159 A C 46 D
99 D 124 C 167 B 17 E 47 C
60 F 75 G 97 D 120 H 146 F
60 L 75 I 99 D 120 H 153 A
71 I 87 C 110 B 126 F
72 E 90 110 C 126 F
13
72 M B 111 B 128 A 12
73 D 90 112 H 129 A G
73 E D 112 H 129 C 14 D
75 B 91 G 115 129 D 14 E
75 C 92 C 130 B 16 G
75 C D 117 D 138 C 16 L
75 E 93 B 118 143 G 22 B
Usual Groups. 13, 14 strokes. 357
23 E 68 C 99 F 126 C 17 E
23 H 69 D 102 G 127 D 17 E
27 E 69 F 102 H 135 C 18 N
31 B 71 P 102 H 135 E 21 C
36 E 71 Q 102 I 136 C 23 F
39 I 72 L 108 C 139 B 27 K
42 C 73 E 109 D 14 2 B 31 E
46 D 74 B 117 A 142 B 34 I
47 F 75 A 117 149 E 35 L
50 D 76 C D 149 F 36 C
50 M 76 D 118 C 159 B 40 C
50 Q 76 E 119 M 161 C 40 D
52 E 78 F 119 N 164 C 47 0
54 G 81 A 121 E 165 C 49 G
54 H 81 H 121 K 167 D 62 G
54 I 81 H 122 C 168 K 65 G
59 H 92 E 123 F 68 E
60 L 95 C 123 F 14 69 J
60 97 B 125 C 3E 75 B
O 99 D 126 A 16 H 75 B
358 Usual Groups. 14, 15, 16 strokes.
76 F 13 23 H 88 C 165 D
1
78 G D 23 I 90 E 169 D
82 E 134 26 M 90 E 171 A
82 F B 27 J 91 I 175 A
92 E 135 F 34 D 92 R
97 I 144 B 34 K 103 A 16
102 H 144 B 34 K 121 M 16 J
118 D Z 149 D 79 H
118 D 15 52 F 149 F 86 B
G 11 C 67 N 158 F 92 E
126 B 14 75 E 160 C 97 F
120 I 72 K 97 B 92 D 149 F
177 B 158 B 73 D 72 K
161 F 19 130 D 73 E
17 164 C 34 K 134 A 10
14 H 34 K 158 G 23 F
16 I 18 35 M 72 E
27 B 12 G 39 21 & 130 E
47 U 15 C D 54 I 130 E
50 I 34 C 68 D 79 I 194 B
62 C 72 J 72 G 82 F 154 B
Appendix. 361
OLD GRAPHIES.
Whensoever the ancient Chinese noblemen had been favoured by their princes,
or had experienced some kind of success or luck, they used to cast a bronze vase,
in memoriam. Symbols and Characters relating the fact, were moulded on the
interior side of the vase, which was placed in the ancestral temple of the family,
and served henceforth as a ritual vessel, when oblations and libations were of-
fered to the Manes. 0» the exterior side of the vase, the two eyes of the Ancestor,
were figured, looking at his sons and grandsons with benevolence. We are indebted
to these old bronze vases, for all the old Graphies we possess. Ancient Chinese
epigraphy on stone, is non-existent. Many fac-similes of vases and inscriptions are
to be found in the 4th French edition of this work, Caracteres Chinois, pages
361-452. In this English edition, the matter has been presented in a summary w a y.
Now take good notice of one thing, which uses to baffle novices in Chinese
epigraphy. In all modern books, the engravers have replaced the old obsolete
symbols which are not characters, by conuentional current characters chosen
because of their form, without reference to their meaning. To translate those signs,
would cause laughable blunders. For instance, instead of the symbol offering
of meat, they engrave the modern character father, because the old character
father resembled the symbol offering. — In the place of the poured
libation, they put a . — For the obsolete a distaff-load of textile fibres pre-
sented to the Manes, they put a . And so on. — Remember this, when reading
the modern transcriptions of the following old Graphies, which have all been
photographed from rare Chinese epigraphic repertories, such as
etc.
362 Old Graphies. First part. Symbols.
Almost every time, beneath this symbol of offering meal, there is a sort of
tear, symbol of the poured down libation of wine. Instead of the falling wine, they
sometimes figure the splash of the wine having fallen on naked soil. This figure
is rare, because it was ritual custom to pour the libation on grass, spread out or tied
into a bundle, w hi c h was burne d a f t e r the ceremony was over. There are many
figures of this bundle of grass, sometimes graphically reduced to a , or , or
anything else.
Old Graphies. First part. Symbols. 363
Sometimes the son does not offer the smell of the cooked meat, but the raw
meat cut in slices, which are exposed on the shelves of a dresser. A libation of
wine is poured, as usual.
Besides the smell of meat and the libation of wine, three things are
presented at almost all solemn offerings. These are .
1 a box containing jade, cowries and pottery.
2 an amphora of wine, presented by two hands, with a ladle,
3 a distaff-load of textile fibres, with 2 or A hauds spinning.
The idea is very clear The Ancients offered to their deceased Ancestors, all
the things without which the living could not be; viz. valuables, money, vases,
stuff for clothes, wine. Analyse the three figures above...
Old Graphies. First part. Symbols. 365
The cowries, current money of old China, are offered strung up, often In
great quantities, as much as a man can carry with a pole. — In some texts, the
strings of cowries are figured in a compendious conventional form.
The presence of the Ancestor to whom the offering is made, is ordinarily figured
by the heel of his foot; see Lesson 112 A. In modern Chinese, to say in presen-
ce of, is before the heels of. — Now we are able to interprete the
whole of the following two inscriptions... ( Left) In presence of my Ancestors, I
offer raw meat, a libation, wine and tow... (Right) In presence of my Ancestors,
1 the son holding the flint knife, offer raw meat, libations, precious things, wine
and tow.
Old Graphies. First part. Symbols. 367
In some very rare cases, the Ancestor is figured standing, and the offering is
presented to him directly. See above.
368 Old Graphies. First part. Symbols.
Sometimes the presence of the Ancestor is figured by his two eyes looking
with benevolence at the offerings. As has been said on page 361, the benevolent
eyes of the Ancestor are figured on the outer side of all ancient sacrificial vessels,
staring at the offerers. Sometimes the two eyes are replaced by one triangle,
symbolising sight in abstracto.
The temple of the deceased Ancestor, or rather the sacred niche from whence
his transcendent influence is supposed to emanate, is figured by a frame, square
or rectangular, often with inward curved angles.
Old Graphies. First part. Symbols. 369
Some times, in a fit of rapture, the offering son is spiritually transported beyond
the balustrade and the pillars, into the sanctuary, unto the very presence of the
Ancestor. See above, on the left, the best figure Antiquity has bequeathed to us.
It dates from the 2d dynasty (circa B.C. 1500), and shows a raptured son knee-
ling in presence of his standing father... In the two other figures, the raptured son
carries cowries or meat (knife).
Now we are able to understand all the Graphies on top of this page, and others
on the following pages...
Presentation of a new-born child, To the sight of his Ancestor.
Presentation of a new-born b tbe. the fontanelle of whose skull is not yet-
closed, in the temple, with a libation
Presentation of twins, with offerings a n d libation.
Presentation to the Ancestor, is his temple, of a pair of twins, brother and
sister, with offerings.
In the presence of the Ancestor, after libation, offering of jade wine and tow,
by the son, a grandson having recently been born.
Old Graphies. First part. Symbols. 373
This bronze plate, dating probably from the 20th century B.C., is the oldest
specimen known of Chinese writing. It is not properly a text, b u t the enumeration
of all kinds of animals killed in a great hunting. The document reveals... 1 t h a t
the shape of the primitive characters differed greatly from t h a t of their derivati-
ves... 2 that the principle of composition of characters, was always the same, from
the beginning.
376 Old Graphies. Second part. Texts.
In the 9th month, the moon being f u ll, on the day chia-hsu, the, emperor
having worshipped at the ancestral temple, sat down in the h a l l in which the
archives were kept. The Grand-Director Nan-chuang having introduced U-chuan
of Lu, the emperor ordered first the attendant registrar to lake his tablets into his
hands, and then dictated his w i ll, as follows: « U-chuan, I invest thee with the
charge of inspector of Hu-fang. » — Having thus been honoured and favoured by
the Son of Heaven, I, their grandson U-chuan, have cast this u r n , to gladden my
glorious Ancestors. I hope it w i l l be the jewel of my descendants, for ever. — 9th
century B.C.
380 Old Graphies. Second part. Texts.
During the .3th year of his reign (probably B C 768), in the 3th month, the
moon beginning to wane, on the day hsin-yn, the emperor staying at the new
palace in the capital, feasted Chu, the chief of the Literati. During the banquet,
as he was in high spirits, the emperor proclaimed: «I give master Chu ten strings
of cowries. • . Chu fell on his knees and thanked. — Having thus been honoured
and rewarded by the Son of Heaven. I Chu offer this anaphora with a basin, to the
flrst Ancestor of ray race, and place them in the ancestral temple, to be the heredi-
tary treasure of my descendants.
Old Graphies. Second part. Texts. 381
In the year chia yu (B.C. 567), the eighth month, on the day ping-yin, after
purification, the emperor went to the temple, performed the rites, and offered this
basin to propitiate the perspicacions Spirits. May the Spirits (of heaven and earth),
knowing the virtue of the emperor, give him peaceful days during ten thousand
years, and conserve him his imperial mandate for ever.
384 Old Graphies. Second part. Texts.
1 Chui belonging to the imperial clan, remember often with veneration and
compassion, my Ancestors who died in battle for the service of the emperor. The
Son of Heaven having bestowed great liberalities on me, 1 have cast in bronze and
offer now to them this vase tun, as a token of my filial piety. May they bestow on
me long life and durable prosperity... Made by me Chui, after the decease of
emperor Ling (B.C. 545), to be the jewel of my family. — [Note thrice the
anthropomorphic figure of Heaven. ]
Old Graphies. Second part. Texts. 385