PHILLIPS ACADEMY

3 1867 00508 5357 ANAUHS

OF CHINESE
CHARACTERS
G.D. WILDER &I.H INGRAM
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THE MORRIS TYLER

BOOK FUND
'
 ANALYSIS OF
CHINESE CHARACTERS

BY

G. D. WILDER & J. H. INGRAM

DOVER PUBLICATIONS, INC.,

NEW YORK
 This Dover edition, first published in 1974, is an
unabridged republication of the second edition of
the work, published by the College of Chinese
Studies in China (no indication of city) in 1934.
(The first edition was published by the North China
Union Language School, Peking, in 1922.)

International Standard Book Number: 0-486-23045-7

Library of Congress Catalog Card Number: 74-75626
\
Manufactured in the United States of America
Dover Publications, Inc.
180 Varick Street
New York, N.Y. 10014
 INTRODUCTION

ANALYSIS OF CHINESE CHARACTERS.

The author of the great Chinese English dictionary Mr. Giles, has
not hesitated to express most trenchantly his contempt of etymology as it
has been applied to Chinese Characters. He says that “Much of the
etymology of the Shuo Wen is childish in the extreme”, and that the
phonetic principle of combination is the only one of which we can pretend
to know anything. Notwithstanding the ridicule heaped upon it, scholars,
like Chalmers, Chalfant, Wieger and others have continued to pursue the
fascinating study of the origin of these symbols and have given us most
Interesting results. These results are so convincing that in the teaching of
character writing we have unhesitatingly adopted the principle that the
etymology of the earliest Chinese writers on the subject, childish though
it may often be and fanciful, is yet superior to the numerous mnemonics
that have been invented by foreign students to assist in the difficult task
of memorizing the forms of a few thousand characters. The student
of these pages may often consider the etymology suggested fanciful
and the logic of the combinations far fetched but the following consid¬
eration should be borne in mind. They are the products of Chinese
fancy and imagination and to some extent show the workings of the
Chinese mind. Therefore they interest us who are students of Chinese
thought. Moreover they often may only seem to be fanciful because we
are ignorant of the ancient customs out of which they arose, or of the
forms of the utensils of which they are pictures, or of the variations of pro¬
nunciation in the different dialects. If any one of us were entrusted with
the task of inventing written symbols for both concrete objects and abstract
ideas it is doubtful if we would produce anything much less fanciful and
we could produce nothing of such rich historic interest, as cer¬
tainly invests the 3000 most primitive characters.
Writing Chinese characters is a task of memory. Modern pedagogy
insists on the value of logical or even fanciful links between ideas for fixing
them in mind. Those who try to learn Chinese characters almost in-
 IV INTRODUCTION

variably grope for some association of ideas, some logic in the formation
by which to hold them in memory. We have no doubt that the groupings
which have been arrived at already by a study of the ancient inscriptions of
the early seal writings and etymologies are more interesting, more logical,
and wider in range than any memory system that has been or can be
invented by ihe superficial study of the characters as written with the
modern Chinese pen. These etymological studies enlist the interest of the
historic imagination to aid the dry-as dust task of committing to memory
these curious symbols of the thought of three or four milleniums.

Missionaries in China have been spared the task which their brethren
in many places have had, of reducing the language of the people to writ¬
ing. The genealogy of Chinese characters takes us back nearly 4000
years. For an interesting historical sketch the student is referred to
Wieger’s introduction, of which we here give a summary. Tradition con¬
firmed by well grounded induction ascribes the idea of writing to the
mythical Emperor Fu2 Hsi and the systemization of written charac¬
ters to Ts’ang1 Chieh4 Jl’fg in the 27th century B.C. Emperor Huang2 Ti4
B.C. 26o7-2598, had recorders trained in official schools under a
A t’ai4 shih* or Grand Master. Bronzes of the 18th century B.C. with char¬
acters on them are extant. The stone drums exhibited in the gateway of
the Confucian Temple in Peking, referred by some to the 12th century, by
others to the 9th century B.C. show inscriptions in the style used by an
imperial recorder fi Chou4 in a catalog of characters called the Chou*
wen2 or large seal, td1 chuan4. Later they became known as tadpole
characters, (B.C. 200) k'o1 tous tzu4, because so many of the
penstrokes suggest the form of a tadpole. Confucius, B.C. 500, complained
of scribes who were dishonest and instead of leaving blanks when they
forgot characters, made new ones. These he called ch’t1 tzu4 or odd
characters. Ch’in2 Shih3 Huang* 213 B.C. had his prime minister
Li8 Ssu1 make a new catalog called the HJt sanx ts’ang} It contained
3300 characters which are known as the small seal hsiao8 chuan4.
Li Ssu1 invented no new symbols but combined the primitive picture
characters with phonetics. Thus the creation^ of new characters ceased
before 200 B.C. and probably long before that, as the phonetic principle,
which renders unnecessary the invention of new symbolic elements, was in
use in 800 B.C. Li8 Ssu1 was deceived by the odd characters” and as he
had nor enough ancient documents to ascertain the meaning of many
 INTRODUCTION v

symbols he fixed wrongly the meaning of many characters. We can now

correct some of his mistakes. In the period of liferary enthusiasm following
Li3 S§u! many new characters were invented by the easy process of
phonetic combination. As there were many literary centers with different
dialects prevail ing and no standard or center of control, countless useless
and duplicate characters were formed. Li8 Ssu’s catalog was reedited
seven times until it contained 7380 at the time of Christ and two hundred
years later over ten thousand. The modern standard dictionary of Kang
Hsi finished A.D. 1/17 has 40,000 characters. Of these 34,000 are
monstrosities and useless doubles ; 2000 more are surnames and doubles of
little use, leaving 4000 that are in common use. Of these 3000 are all
that need be studied for etymological purposes, although there are also
some rare or obsolete characters that are of etymological and historical
interest. Fortunately the 3000 ancient primitives are still the most useful
characters and anyone who gets a mastery of them and their combinations
will have a magnificent vocabulary for all departments of literature. Let
no one be appalled by the popular misstatement that there are 80.000
characters or even by the fact that there are 40.000 in the dictionary The
vocabularies of Goodrich and Soothill have but 10.000 and the larger
Chinese English dictionaries but 14.000. One who masters 2000 will find
himself fairly well equipped for public speech. Dr. Goodrich after his many
decades of experience is surprised that he can catalog but 4000 colloquial
characters.

Besides the multiplication of characters there hate been many trans¬

formations for ease in writing or condensations for the sake of speed. Many
of these changes occurred as writing materials changed. At first the metal
stylus, writing on wood made uniform strokes equally easy in all directions.
Curves and circles were common. Then the wooden pencil used on silk
caused poor writing and some peculiar changes. Finally fine pointed
hair brushes used on paper gave great Power of shading and speed in exe¬
cution but still further distorts the shapes of the classic small seal characters.
The brush has produced the modern k' aiz tzu*, in which curves
are reduced to straight lines and angles, and the grass characters,
ts'aoz tzu1. or running hand which still further obliterates the classic
forms.

Other transformations are due to abbreviation for securing more

space for inscriptions on-small pieces of bone, shell or metal, as Mr. J.
 VI INTRODUCTION

Melion Menzies has pointed out, and these abbreviations have become
precedents for permanent forms. >

About 120 A.D. there was printed a posthumous work of Hsft® Shen
(B.C. 86). It was the first publication of genuine archaeological and ety¬
mological studies. This father of Chinese archaeology had travelled
ex’ensively and studied Li8 Ssu’s catalog. His great work is the
Shuo1 Wen2 Chieh8 Tzu. It contains 10516 standard characters arranged
under 534 to 544 primitive symbols which are the origin of our 214
radicals. All Chinese dictionaries claim to be based upon the Shuo Wen,
though they often show ignorance of it and fevV scholars to-day are ac¬
quainted with it. Our Character Analysis is based upon Wieger’s Ety¬
mological Lessons which is drawn largely from the Shuo Wen. Our
references usually mean that our explanation is taken from Wieger. But
it is not always so, for the original Shuo Wen as well as the works of
Chalfant, Chalmers and others have been used. Original or at least modern
suggestions have been made and usually placed after the reference to
Wieger. In Wieger’s Lessons will often be found the quotation from the
Shuo Wen in Chinese justifying the explanation.

We shall use a few technical expressions which are best explained by

the ancient classification of characters into six categories. All characters
are divided into the wen2 or simple figures and the tzu4 or com¬
pound. On the basis of form or composition these two classes are each
divided into two other classes. 1. The wen1 or SIMPLE characters may
be either (1) pictures Ht hsiang* or imitative symbols, Hj ^ hsiang4 htsing2,
of which there are 364 in the Shuo Wen or they may be (2) indicative
symbols chihz shih*, pointing to things, affairs. The Shuo Wen has
125 of these. 2. The COMPOUND characters are divided into (1) logical
combinations, hui4 z4, in which each component part of the character
has a meaning relevant to the meaning of the character as a whole. There
are 1167 of these in the Shuo Wen: (2j phonetic combinations
hung3 s/ieng1 (form and sound), also called ksieh1 shcng1, in which
one part has a significant meaning and the rest points out the pronuncia¬
tion only. Of these the Shuo Wen explains 76^7. We should note how¬
ever that in many of these phonetic combinations the phonetic part was
chosen because its meaning had some suggestion of the meaning of the
character so that they incline towards the logical combination class and
may be called suggestive phonetics, e.g. fBJ wen4 to ask has men2 door
 INTRODUCTION vii

for the phonetic and P k'ouz mouth to signify the meaning of ask, but a
mouth in a doorway certainly suggests asking. So too in ^ wen3 to
hear, am ear at a crack in the door, the phonetic P3 is suggestive.

We give the following examples of the four classes mentioned above,—

1. Imitative symbols or pictures such as ya4, right hand; p
left hand; Pj men*, door, of the Chinese two leaved style with projecting
pins at top and bottom for hinges.

2. Indicative symbols, that suggest meaning often with the idea of

motion as, | kun3 representing suspension from above or action of force
or authority from above downwards; J3 tan4, the sun 13 just above the
horizon —, suggesting the meaning of morning.

3. Logical combination, in which the meaning of the character re¬

sults from the meaning Of all the elements, chan1 is a mouth P k' oi?,
meaning to ask, under a h pi?, a diviner or the lines on a tortoise shell,
so the whole character means to consult the diviner or simply to divine,
i.e. to ask the tortoise shell lines.

4. Phonetic compounds, in which one part has to do with the mean¬

ing and the other with the sound only. chan4 to moisten, naturally has
the water radical shu? to suggest moisture and has the char? for the
phonetic, to indicate the sound. In many cases the phonetic has little like¬
ness in sound to that of the character of which it forms a part. Such discre¬
pancies will be understood if one remembers that the Chinese custom
requires that only the latter part of the sound of the phonetic shall be like
that of (he character whose sound it indicates. Thus fpj shang4 is, con¬
sidered a perfect phonetic for t' ang4, and m t’ung* for M chung1,
pan for $$£ p’an* etc. Moreover many of the phonetic combinations
were invented in parts of the country where the dialect varies greatly from
that familiar to the student.

These four classes are based on the form or composition of the char¬
acters. The Shuo Wen distinguishes two more classes of characters
based upon use.
5. $023; chuan3 ihii*, is an acceptation of a character in a meaning
more extended, or derived, generalized, metaphorical, analogous, adapted,
figurative, or even inverted and opposite to the original meaning. For
instance in h pi? the original meaning seems to be a horizontal and a per¬
pendicular line from the lines appearing in a heated tortoise shell, that is,
what the diviner consults; then by extension it meant the diviner or one
viii INTRODUCTION

who consults the lines. $*] voang8 is a picture of a fishing net. By ex¬
tension of the primitive meaning it mean* any network, cobweb or reticu¬
late design; also to catch with a net, to catch in general, to envelope or
wrap, to gather. 7 hese meanings are gotten by turnings of interpreta¬
tion. Primitives are usually pictures of concrete objects. Abstract terms
are usually extensions of meaning or turns of thought from the original
concrete characters. fit4 is a hand holding a stick of authority
therefore, father, by a metaphorical extension.

b. Hx'Ih chif chieh4 or false borrowing, refers to the use of a

character in a sense which is not its own originally, either by (1) error,
substituting it for another existing character or (2) by convention to de¬
signate an object which has a name in the spoken language but which has
no written name e.g. to take the character for some obsolete utensil arbi¬
trarily to s'and for some new idea for which a symbol is wanted. See No.
4. yehz. As an example of the former we have in the first chapter of
the Analects Mi now pronounced in other places shuox meaning to speak,
but in this place always pronounced yiieh*, meaning to rejoice. Yueh to
rejoice is written but a scribe once wrote M for by mistake, and it
was not corrected out of respect for the classical text. If kox, to sing,
was taken by convention to mean elder brothers.

Another interesting method of forming characters was by inverting

an old character to make a new one of opposite meaning. For example
T hsia4, below is the inversion of Jh, slicing4 above: t’u4, an inversion
of ^ izu3, son, means an unnatural child; OF t’a to go on, is only, Jh
chili1, to stop, turned bottom up; ifc pu4 w alking is a combination of the
two preceding containing both stopping and going owing to the advancing
and stopping alternately of the feet in walking. A jef' inverted is £
hua*, to change.
Some characters are formed by doubling and trebling other characters
either to emphasize the meaning, as A yao1 the finest thread, yux an
almost invisible filament or to express simple reduplication or multiplica¬
tion as tH k’ous mouth and HQ hsuan clamor of many voices; * mu4 tree
and ^ forest, ^ sen many trees, green, many.

This book explains a thousand characters. After the student has

studied these he will have learned about 1400 useful characters. We re¬
commend that he proceed then to read Wieger’s Etymological lessons
in order, and to learn to write all the list of “340 Characters selected
 INTRODUCTION IX

from those Lessons which do not occur in the First list.” Then a study of
Wieger’s Phonetic series, learning to write the “second thousand selected
characters” will place all the student has learned in phonetic groups
enabling him to remember them much more easily. The study of the
phonetic groups in Soothill’s pocket dictionary or in Wieger throughout
the course will rapidly increase the numbers of characters the student can
write.
 SUGGESTIONS TO THE BEGINNER
FOR WRITING CHARACTERS.

If the student begins with the first character and studies them in
order he very soon comes to very complicated symbols. It will
ease his task if he takes one or two lessons on simpler forms such as
the numerals and simple characters occurring early in the book as
designated below, in the suggested first lesson.

It will be found a pleasing diversion to practice under the

guidance of a teacher with a Chinese pen and the red copy forms
that schoolboys use. In this way one will at the same time learn the
order of the strokes which the Chinese follow. It is highly important
to learn this order if one wishes to write at all, as a regular habit form¬
ed by the hand in making the strokes of each character is a great
assistance to the memory. The Language School also has a table
giving the order of strokes for the first 150 of the characters in this
book. From this the student can easily acquire the principles of
order in writing. Mr. Bailer’s suggestions in the Introduction to his
Mandarin Primer will also give the same. P. xxv.

In writing with either pen or pencil, the following rules should

be observed in order to secure as much of proportion and style as
possible. 1. Each character should occupy as nearly as possible a
square space of equal size with those above and below, no matter
how many strokes it may contain. ‘1. The elemental strokes are as
follows — 1 ' J A L L 5 I • 3. Where space is en¬
closed the perpendiculars slope inwards, making the space broader
at the top than at the bottom. 4. Perpendiculars in the middle of
the character should be absolutely upright, but the horizontals tend
to slope upwards toward the reader’s right hand.
We suggest the following for the

FIRST LESSON.

z1 One, represents the primordial unity. The first

in the series of numerals, it represents the source of
all beings. It is the first radical.
In composition to make up another character it
has the following symbolic meanings.
SUGGESTIONS TO THE BEGINNER FOR WRITING CHARACTERS, xi

1. —i1 at the top of any character usually means

heaven, a roof or any cover as in 5^ t'ien, heaven, pf
/ ' yz/8 rain.

2. At the bottom it means the surface of the

earth, a base, or foundation. ^ pen8 trunk of a tree
or base ; J3. /an4, morning, the sun just above the
horizon. .iC ^ It4 to stand, is a man on the
ground,—.

3. A barrier or hindrance as in c/t’iao, a

difficult breathing, representing the breath, pj
shnan1 a bolt to a door. 4. Something contained, as
shao3 a spoon with something in it.
Two. The number of the earth, because it
makes a pair with heaven. It signifies the masculine
and feminine principles |^f yang' and yin1. It is
the 7th radical. In composition it has three uses. 1.
The meaning of two as in {Z jen2, two men, love each
other. 2. Two extremes as in 3l wuz five ^ ko* a
sheen skin Y stretched on a frame Zl. An old
form of shang1 above, or of T* hsia4 below,
e.g. shih4, a revelation from above. I7G yuan1',
head, that which is the top Zl on man JL-
i,
san1 Three, the order of humanity coming after
heaven and earth. The Chinese commonly explain 2
wang2 king, as the one who unites heaven, earth and
man.

shili4, Ten. The number that includes all the rest

of the simple numbers, a symbol of separation, extent
in two dimensions, and the cardinal points of the
compass. It is the 24th radical, e.g. mis, is a “f*
separating the kernels of grain )>. It means threshed
out grain or any such substance.

For the rest of the numerals study the following numbers in the
book, 29 to 33, inclusive, 58, 59. For more easy characters first
study No. 57, 1, 5, 6, 14, 15, 35, 27, 19, 12, 2, 3, 4, after mastering
these one may as well begin with No. 7 and go on in the order
given in the book.
 %

...
’ ' * *;v. ,

'

' •

'
 ANALYSIS OF CHINESE CHARACTERS, FROM BALLER’S
MANDARIN PRIMER.

BASED MAINLY ON DR. L. WIEGER’S ETYMOLOGICAL

LESSONS AND THE SHOO WEN.

(W. with a number add letter refers to these lessons. A comma after the Romaoizatlon In the first
column means that It is a colloquial character. The form given at the right is
the seal writing of 109 A.D.)

BALLEK, LESSON I.

tzu4, To have children ^ tzu3 under one’s roof

mien2. Logical composition, to shelter,
to nurse, to bear. By extension it refers
to the characters produced or born by
combining the simple 3C wen2, into com¬
pound characters, either by logical
composition # or phonetic combination,
fif M (See introduction, Page 6, in Wieger;
also W. 94 A.)
tzu3, The radical of the character, a picture of a
newborn child swathed so that its legs
are not visible. In an ancient form it has
the hair. By extension it means disciple,
then sage or teacher because the emperors
honored the sages by calling them tzvP or
sons. It is the 39th radical, relating to
children. (W. 94 A.)
mien2 Picture of a roof, a shelter, a house. It
is the 40th radical of characters relating to
dwellings. (W. 36 A.) Called W M pao8
kai*.
 -J£ wo3, I, me.
Two spears, kol, pointing to-
* * ' wards each,other, two rights opposing
each other, and by extension my right,
me. (W. 71 Q.) , % is the radical.
Williams says it is a hand ^ grasping a
spear, defending my rights, therefore I.
XK kol, Picture of a spear with a hook or crescent
on top, a crosspiece below and a sword
knot at the handle; the 62nd radical, of
characters relating to spears and wea¬
pons generally. (W. 71 F.)

ni®, You. A jeri2, man (picture) 9th radical, is

the radical of ni3.
erh3 you, is a contraction of fB the classic
character for you. It is final expletive
equivalent to a full stop, or “ There now! ”
(At the end of a phrase the voice is
drawn in A ju*, and the reserve of breath
J is separated, A pa1, sent forth. The
character is borrowed for you.) (W. 18
0, and 35 L.)

t’a1, He, the other, she, it. A jen2, man is the

radical,combined withyeh3,also; therefore
the other man, he. (Man A also til.)
yeh3, This character is a picture of an ancient
utensil, either a funnel or a drinking
vessel; borrowed for the conjunction, also.
(W. 107 B.)

men2, Sign of plural in pronouns and other

words indicating persons. The radical is
A, called jt A 5E or standing man when
written T at the left of a character.
 3

men3, gate, radical 169, is a picture of a two-

gg leaved gate turning on pivots (hu4 being
' ' * a one-leaved door). (W. 129 C.) This may
have been taken to form the sign of the
plural because it is a door with two leaves.
ti4, Target, mark; clear, true. Adjectival
particle, sign of possessive.
Q ^ pa/2, white, is the radical, No. 106. The
sun just appearing and making white
daylight, cf. 6 % pai2 t’iezP. (W. 88 A.)
Chalmers says it is the white cocoon.
sAao2, A ladle, a spoon. ^ is a primitive pic¬
ture of a kind of spoon, and the — is some¬
thing in it. (W. 54 H.)
The phonetic shao2 may have been
selected owing to its having a straight
line pointing to the center, thus indicating
the spot where the arrow should strike.
pi8, Pen, (made of bamboo and a hair brush).
ftM chu2, bamboo is the radical, No. 118. The
seal writing represents the drooping whorl
of leaves, ft the inverse of cAV, a
sprottting plant. When written above
another character in composition it is ***,
called ft & m chu2 tzu4 t'ou2. (W. 77 B.)
yti4 A stylus, = a -a- hand holding a j pen
writing — lines on a n tablet.

\ chih3, Paper. From & ssu\ silk, the radical, and

j£ shih4, a flat floating plant, the phonetic.
ssu1, Silk, a strong thread. The upper part
represents two cocoons, & yao1; the lower
part, <4* is a primitive representing the
twisting of several threads into a big one,
 —the threads from two or more cocoons
twisted. It; is the 120th radical of char¬
acters relating to textile matters. (W.
92 A.)
shih4, A surname. A family, clan, sect. Used
in married women’s surnames. Originally
a floating plant, that ramifies and
branches and finally fixes itself by a root
to the bottom and develops greatly.
Therefore by extension, development, mul¬
tiplication ; a wandering horde of primi¬
tive times, a clan, family. It is the 83rd
radical, here used as a pure phonetic.
(W. 114 A.)
Silk was used for writing on before
paper was invented; hence the radical
The plant spreads out flat on the
water ; hence the fitness of this element J£
to form the character for paper.

shu1, To write, a writing, a book.

0, a yiieh1 to speak, is the radical, No. 73. The
jg mouth P A’ou3 exhaling a breath — or a
word; therefore by extension, emana¬
tion, exhalation. A more ancient form
exhibits the breath as forming a cloud
over the mouth (W. 73 A.)
yii* A stylus (see No. 7).
While yiieh is given as the radical by
Kang Hsi, yet the seal form shows that
historically it is but a contraction for
% chezy phrase speech, document. (See
No. 270. W. 159 B.) A book ^ is the
emanation or speech 0 of a pen ^.
 5

10 che\ This, here, now. This j£ word H goes H.

cho* is the radical, No. 162, to run and to stop;
from zf ch,ihi} to step with the left foot,
and it chih3, to stop, which is a represen¬
tation of a foot standing, heel at the left,
toes at the right, and ankle above. (W.
112 A and E.) In combination H writ¬
ten is called ?£ 5£.
yen2, Words. The P k’ou3, mouth with words
■a- issuing from it. 149 th radical (W.
73 C.)

11 m naz\ Where ? in third tone ; there, in fourth

tone.
B.B.S ft A city. The radical, No. 163, in combina¬
tion written ft and always, at the right.
The P seat of EL chieti1 authority. The P
represents the walled town, and the £, is
a seal or stamp of authority. (W. 74 C.)
^ The |is a modification of fa by the
scribes. The whole character ffl was the
name of a city west of Szuchuan, whose
inhabitants wore furs fa. It also means
weak, and was borrowed for the meaning
there, that. (W. 116 B.)

12 Ejt shih\ Right, exact, to be, yes.

At ^ g ^ the sun> is the radical, No. 72—a picture.
-p cheng*, from — l1, one, limit and Jh chih3 to
^ stop. Stopping only at the proper limit set
beforehand, upright, correct. (W. 112 I.)
The sun B exactly iE on the meridian,
right, straight = &.

18
cA’/en2, Money.
6

^ ^ chin1, metal, is the radical, No. 167. 4- chin1,

“now, present,” is phonetic. (See No.
18.) ± t*a9, earth, bearing in its bosom
two nuggets A of gold or metal. In earth
rh there are present 4* two nuggets N/ of
gold &.
it t’u*, earth, is the 32nd radical. The earth
± that produces all things. The top line
represents the surface, the lower line the
rock or subsoil, and | the upright, the
things that it produces. (W. 81 A and 14
K. T-)
chien1 To exterminate, to destroy. The com¬
mon work of tv.o or many spears (W.
71 R.) Most of the characters of which
this forms a part have the sense of small,
mean or to ruin, as $ chien4 cheap, ft
chien4 trample, & ch’ien8 shallow.
14
».n wax4, Outside, foreign.
$ hsi1 Evening. The radical, No. 36 ; represents
the half moon which appears in the even¬
ing. One line is left out of H yiieh, the
moon.
f* pa9, A soothsayer, to divine. The 25th radi¬
cal. (W. 56 A and F.) The divination
is by looking at the veins appearing in a
heated tortoise shell, aud the F pu8 repre¬
sents a perpendicular and horizontal vein.
outside, is a diviner, f in the evening
^ i* e., a person must consult the diviner
outside of working hours, before a new day.
15
shcna1, Grow, beget, produce. Radical No.
100.
 7

A plant that grows more and more. A

whorl was added to 1. (W. 79 B, F.)
Others make it a combination of ± t’**8
(earth) and cfi’e4 (grass). That is, the
earth ± produces £ grass )W.

fg yao4, (Loins, waist), to want, to wish.

to* Originally written as a picture of a wo¬
C\ man, with face (a), two hands W, and
figure with enlarged bust It was
taken for waist, that part being more
marked in woman’s figure than in man’s;
but in this sense it is now written
with the B /oil4 radical added M- The
primitive meaning is now lost, and the
character is borrowed for the meaning to
want. (W. 50 M.)
IS As/1, West radical No. 146 was taken arbi¬
trarily by Kang Hsi as the radical for
classification of the character in his
dictionary. (See No. 26.)
niis, woman, is a picture character. The 38th
radical. Originally A a woman standing
in respectful attitude, altered to ft for
ease in writing ! “ What China wants—
the Western woman ” is a convenient
mnemonic for

tso4, To make, to act as.

LA jenz, is the radical, No. 9.
ku4, Cause, purpose, old. Combined with A
man, we have man as cause, that is,
doing, making.
ku3, Ancient, that is, what has passed through
ten -f* shih1, mouths or generations, P
8

k’ous, picture of a mouth, 30th radi¬

cal. (W. 24 F.).
XXA p’u1 To tap, rap. 66th radical. From a %
yu4 (hand, 29th radical) holding a h
pu3 diviner’s rod.

nien4, To read, to chant. To think, to study.

hsin1, Heart, a picture in the seal writing.
61st radical. It shows the pericardium
opened, the lobes and the aorta below.
(W. 107 A.) In combination at the left
it is written f .
'T* chin\ now, is made up of a triangle A, chi
meaning union, and 7 chi2, an abbrevia¬
tion of R meaning contact, up to, (W. 19
D.) (a hand % holding a man A). The
combination is thus tautological. (W. 14
K.) The idea of the character may be
that all past time unites in the present.
Therefore & to read or think, is to make
present ^ to the mind <6.

19 pu\ Not, a negative. Primitively a bird ft

flying up to the sky—u not able to get
there ” for a mnemonic. The radical, — i1
is often used as a limit, or the sky, at the
top of a character. (W. 1 B and 133 A.)

hsieh1, A little, some. Sign of comparative,

several.
db tz’u*, This, here. Originally it meant to
turn fc on one’s heel Jh. “ This ” is a
borrowed meaning. b pi* is an in¬
verted man A, to turn. (W. 26 A
112 A.)
 9

‘ erhA, Two. The number of the earth because

it is paired with heaven. Also the number
/ ' of the two principles I»Ji vin1 and ^ yang1,
(W. 2 A.) The radical of the 7th.
The combination of jifc t’zu8, this, and Z1
erh4, two, means pointing to this and that,
sign of plurality.
21
: shuP, Who ? who; any one. 1? yen2 is the
radical, the 149th.
ttl chui1 Short-tailed birds (a picture), the 172nd
radical. (W. 168 A.) A phonetic combi¬
nation.
28
tang', To understand. The radical is <6, here
written f and called Jg shu hsin\ ver¬
tical heart, the 61st radical.
fung3 To lead or influence, to rule or lead peo¬
ple on to right ways.
With heart meaning to influence the
mind, or to understand.
, -H* t’sao3, grass, a picture, the 140th radical, is
its radical. It is written !Jf when stand¬
ing alone, and +•* in composition.
chungA, Heavy, important. Composed by
superimposing Ping2 i upon ^ tung1,
the two oblique strokes of the latter being
reduced to a horizontal stroke.
Zfc Ping2 is a man A standing at his place
on the earth the earth denoting the
business of life, position. The positions
on the east of the throne were the more
important and honorable, hence the com¬
bination with M tang\ east, to mean
important or heavy. (W. 81 D.)
10

tung\ The sun 0 shining through the trees,

mu* i.e., on the horizon where it appears
in the morning, so, east. (W. 120 K.)'
mu4, Tree, a picture of trunk, roots and
branches the 75th radical. (W. 119 A.)
23
shen2*, Very, superlative, what? Before
read shen2.
UtE) kan1, sweet, the 99th radical is the radical,
from □ A’on8, mouth, and something held
in it,—i.e., agreeable to the taste, sweet,
satisfaction. (W. 73 B.)
p’P, To pair, a pair. It is a half of the whole
which is represented by 129 ssu*. A little
more than half of the character is retained
so as to be recognizable. (W. 42 A.)
Therefore ft means affection for the mate.
As this is the strongest affection, the char¬
acter comes to mean superlative, very.
24
ma\ mox, An interrogative particle, a sort;
also used ironically. These are borrowed
meanings. The primitive meaning is small,
delicate, from ma1 hemp fibre, and £
yao1, the finest thread. (W. 90 A.)
Hemp, hemp fibre, pockmarked; the
200th radical; it is the radical of this
character. It is made up of the follow-
ing:
)K p'an* Tp strip hemp ; from A pa1, to divide
(12th radical) the fibres from the jW ch'e\
stalk. (Distinguish from ;£ mu*.) When
doubled it forms M p'ai*, textile fibres.
When the stalks are soaked and stripped
off and brought under cover or stored in
 11

a shed JT yen9, it is called ma!, prepar¬

ed hemp or tow, kept under shelter. (W.
79 H.) In combination this character
has the idea of entanglement, troublesome,
$ yao1 The finest thread as obtained from wind¬
ing the filaments of only two eocoons
which are represented in the character.
By extension, any fine thread, tow, slender,
tender, 52nd radical. (W. 90 A.)
25
tung\ East. Sun 0 shining through the trees,
7k mu*. See No. 22. 7k mu* is the radical,
the 75th.

hsi1, West. The primitive writings picture a

bird settling on its nest. The birds go to
roost at sunset; hence the use of the char¬
acter for west; the 146th R. (W. 41 D.)
27
*.f£ hsien\ First. The radical is JL jen2, a man.
It sometimes means feet, support. The
10th radical. (W. 29 A.)
chih1 A small plant ip issuing from the ground
—; to grow; development, continuity,pro¬
gress. It is borrowed as the sign of the
possessive. (W. 79 B.) Accordingly the
combination hsien1 means to advance
on one’s feet JL, to be first.

ko*, The culm of the bamboo, a joint of bamboo

with a knot and a whorl of leaves,* in the
primitive writing. An article, a classifier.
(W. 77 A.) In the common form A jen8
is the radical, combined with the phonetic
@ ku*, shut up, to make firm, fortified ;
12

composed of D weP, an enclosure, (the

31st radical) and 7a ktP, ancient (see No.
17) as phonetic. Only when written with
the chu1, as radical has it the meaning
of bamboo.

BALLER, LESSON II.

ssu*, Four. An even number easily divided

into halves by the A pa1, to divide ; all
around. The radical is P weP, No. 31,
used in words relating to enclosures. (W.
42 A.) The old form represents the divi¬
sion into halves. For A see under No. 32.

xdS.XUrn 1 Ei) wtP, Five. At first written X being four lines

and a center, or five ; then placed between
H heaven and earth, as the dual powers
yin1 and H§ yang2, begetting the five
elements, 3?.1t wu3 hsing2. (W. 39 A.).
The radical is H, the 7th.

liu1, Six. The even number that comes after

four marked with a dot. Note that all
the even digits are written so as to show
their divisibility, “ erh*, two, and A
pa\ eight. (W. 42 A.) The radical
is A, 12th.

cfi’i1, Seven lines, in old writing. All the

digits are found written in this style in
old inscriptions, i.e., with the number of
lines indicated by the digit. (W. 33 A.).
Radical is — P.
 13

ah pa1, Eight; to divide. The meaning is indi¬

cated by the form. Also written with
/ '
eight lines in the angular form. The 12th
radical. (W. 18 A.)

chiu3, Nine. A numerical sign without other

meaning. An original writing contains
nine lines. Radical is Zj i4 a hook, the 5th.

chi3, Few, nearly. The radical is ^ yao1, No.

52 (See No. 24.)
It is a guard shu\ of soldiers on the
frontier who are watching the slightest
movements and are attentive to the least
things M yu1. Therefore to examine,
subtle, hidden, small, few.
MSS yu1, has the meaning of {Z, yao1 reinforced, i.e.,
very small, slender, almost invisible. (W.
90 D.) (See No. 24.)
tf.bf shu*, To guard the frontiers ; from A man
carrying a ko1, spear. See No. 2. (W.
25 D.)

Hang3, Two. An ounce, a pair. From a

picture of a standing scale |\j the upper
stroke having been added in modem times
to indicate the beam (or equilibrium). The
idea of a pair may have been suggested
by the balanced scale pans. (W. 35 H.)
\ ju4, is the radical, No. 11, meaning to enter, or -
to put on either pan of the scales. It
represents roots entering the ground A
the opposite of IB ch’u :to go out, which
represents a plant growing up. (W.
15 A.)
14
pen3, The trunk of a tree. The line across the
Tfc mu4, tree, represents the surface of the
ground, drawing attention to the part of
the tree below ground, the roots. So
root, source, natural, native; capital.
Books. (W. 120 A.) Tfc mu4, wood, is the
radical, No. 75.

37 m jen4, To know well; to recognize ; to acknow¬

ledge. f§ ^ yen2 tzn4 p'ang1 is the radi¬
cal, No. 149. Words and %$. jen3, patient
(phonetic combination).
lQ\, Jen3, Patient, to bear, suffer, endure, patience,
harsh. hsin1 is the radical. 71 jen\ a
cutting weapon, formed of 73 tao1, with a
stain on the edge, or something being cut
by it. Tao1 73 is the 18th radical, a
picture of the Chinese razor or cleaver. A
heart under a knife-edge means to suffer,
(W. 52 B.) In composition at the right
73 is written ij. A heart that has endured
S& the monotony of continual practise
knows well its lesson IS.
38
maj3, To buy. Mencius says, “ net $1 the
market gains ifr ” ; better explained by
“ to wrap up a thing with its price in
cowries K in a net ($].” (W. 161 D.)
pei4, A cowrie shell. These were used for
money in early times. The seal character
shows the feelers of the live shell. It is
the radical, No.' 154, of things relating to
values and trade. (W. 161 A.)
wangNet, radical No. 122 (called K ^
ssu4 tzti4 p«4 by the writers, becarse modi-
 15

fied to look like a P9 szu4 when used at the

top of characters) ; in some it is written
* A or P*l. To entangle. (W, 39 C.)

shihM, chih4 To keep in mind, know, recognize.

^ yen2, word is the radical, No. 149.
chih1 A sword, to gather; potters’ clay;
office, official duty (now written ®).
Ancient chiefs or officials. These held a
H kol, when they gathered the people &
and announced their will M. j4 (shorten¬
ed to ^yin1). (W. 71 H.)
W y*nl> sound, is the 180th radical, formed of I?
yen2, utterance, and — a sound. The — is
placed in the P mouth to represent a word
or sound issuing and in the seal character
this line is the only difference between If
yen2 and # y/n1. (W. 73 E.) “ When
the people could repeat the words If
of the officials H they were said to
know.” SI.

ch’a2, Tea. W t’sao8 tzu t’ou2 is the radical.

(See No. 22.) The plant JW like a tree, tK
for man A. This may do for a mnemo¬
nic. This is a modern phonetic combina¬
tion. It uses she4, house and /\ pa\ to
distinguish, the P being replaced by
^ yw* A Pa1 as in ^ Yu,* J, me in Wen li,
She4, contracted, is a phonetic for
eh1 a* & and no logic need be sought.
Tea seems not to have been widely
used in ancient China. Mencius uses ft
chia*, for some kind of tea tree in Shan¬
tung in the phrase,
 “Discarding his wood oil and lea trees, to
cultivate brambles and thorns.”
she* A shed, booth, house. It is the joining A
chr of Cl walls ahd of the thatch roof 'f to
form a house. (W. 14 C.)

ffl hsiehTo write. Primitively to set in order

the things in a house, ^ mien2. *** is the
radical, 40th. By extension, to set in order
one’s ideas, to write. The lower part is
a phonetic only.
yeh* A magpie. It is a modification of M)
niao3, with a special head given it. M
niao3, is a long-tailed bird, a picture, the
196th radical. (W. 138 A. & C.) The
magpie is a bird of neat, trim appearance,
which may suggest the idea of order in
the combination.

wan3, Basin, cup, bowl.

'fj, /o shih2, Stone. It is a piece of rock d fallen
from a cliff r hah4 (27th radical). It
forms the 112th radical. (W. 59 D.)
wan3 Good behavior fayiian3, in the house
to comply with the demands of others,
therefore the derived meaning, to bend',
to cover ; yield. Yiian3 to turn in bed!
a curling up, dignity or modesty E chieh\
during the night, # hsi1 (See No. 14) “ It
is not decent,” says Confucius, “ to lie
like a corpse.” “Stand like a pine (*
to /a* & sung\;) Sit like a bell (g tso*
toju'2 M chung1;) Lie like a bow (g*. wo4 ftj
ju- 3 kung;) Walk like the wind tsou3
ju2 M, /eng1.”) These are models of
 17

behaviour. From modesty in lying down,

yuan3, comes by extension to mean good
behaviour in general. (W. 64 D.)
GL i chieh2, A seal. Some say the form where one
has slept. It is one half of the character
ch'ing* or seal. One half of the seal
is kept at the yamen and the other given
to the individual concerned in the case.
(W. 55 A, B.) The phonetic ^ has the
idea of order, and bowls are a means
to secure order in eating.
43
yu3, To have. Primitively it meant the phases
of the moon as if a hand covered
it. Some say the eclipse of the moon,
with the same interpretation. To have,
is a borrowed meaning. (W. 46 H.) To
have the hand on the moon might well be
called possession.
^ ^ yiieh4, the moon, is the radical, No. 74. A pic¬
ture of the crescent moon completely visi¬
ble (compared hsi1, No. 14). (W. 64 G.)
yi4, The right hand. The fingers reduced to
three for ease in writing. It is the 29th
radical. (W. 43 B.) It means also, again.
The right hand returning repeatedly to
the mouth in eating suggests “ again.”

l4, Intention, thought.

hsin1, heart, is the radical, No. 61. The heart
or mind >6 of the speaker is known by the
sounds % that he utters. By extension
it means also the thought that the mind
of the hearer gets from the words % of the
speaker. (W. 73 E.)
18
yin'f A sound. (See No. 39.)
45
ssu1, To think ; the wish of the heart, jfr is
the radical, No. $1.
hsin1 The skull, the cover of the brain (altered
to look like ffl t’/en*, field). “ When one
thinks, Jg the vital fluid of the heart <6
acts on the brain & hsin1.” Shuo Wen.

*•«.« ch}ux, To go forth, to go out. To issue, to beget,

to eject. Primitively it represents stalks
growing out of the ground, the opposite
of A /u\ No. 35. The H* small plant has
grown another pair of leaves. (W. 78 E.)
In combination often reduced to ±. The
radical is LI k'an8, a receptacle, the
17th.
47
ch’i4, Vapor, the ch'i1 or fumes rising from
fermenting /fc rm8 rice; ether, breath,
air. It is substituted in common use for
the radical ^ and is in much use in philo-
^ sophy for the primal aura or vital fluid.
Vi, ^ ch’i4, vapor, is the radical, No. 84, meaning
curling vapors rising from the ground and
forming clouds. Ancient forms show the
sun 0 and iK fire which cause the vapors.
Contracted into *£ ch'i9 it means to beg.
(W. 98 A.)
* mi®, Rice after it is hulled ; other small grains
and things small like rice. It represents
four grains separated -f-. The •+* often
means separation toward the four quar¬
ters North, South, East and West. (W.
122 A.) It is the 119th radicah
 19

p* eng2, A friend, companion, peer. Now com¬

posed of two moons ; but it has nothing
to do with ft yiiek*, the radical of classi¬
fication in Kang Hsi, but comes from an
ancient primitive |$ feng*, representing the
tail of the phoenix, and by extension
meaning the bird itself, now written 1ft.
The character J88 was then changed in
pronunciation to p'eng2, and taken to
mean friend, because the phoenix draws
all other birds after it; or two birds
together, therefore friend, (Chalfant) $£
p’eng2, was a fabulous bird, the roc, from
which the JDJ may have derived its pro¬
nunciation of p’eng2. (W. 64 I.)

, 3^ yus, Friend, associate. From two hands %

acting in the same direction. % yaA, is
the radical, No. 29. (W. 43 P.)

chien4, Classifier of many things, item, to

divide, distinguish. A is the radical.
41, ^ niu2, Cow, ox. The 93rd radical, a picture
of head, horns, legs and tail. Anything
from man to beast.

j1, Clothes, especially upper garments. 145th

radical of many characters relating to
clothing. In composition it has the fol¬
lowing forms: 1. when at the left of
the character t ; 2. cut into halves, the
-i- being at the top and the being at the
bottom of the character. (It must not
ao
then be confused with ^ the eighth radical,
the at the bottom being the test) ; 3.
both parts may be changed by fusion with
other parts of the character when split,
e.g., % $£. It also is placed either at
the top or the bottom of a character un¬
changed. It pictures the sleeves and the
skirts hanging below. (W. 16 A.)
52
shangxf Clothes for the lower part of the
body. & is the radical (see No. 51.)
shang4, is a phonetic here. 1ft is contracted to
when in composition, meaning a roof
or a house. It represents the ridgepole and
sides of the house as in ** mien2, but has a
window P added and a A pa1, divide, in¬
dicating that the ridgepople divides the
wind and water, or j& tK feng1 shuP. This
ridge raised at both ends is placed last of
all, and so the character means to add to,
still, elevated, noble, superior. It is a
suggestive phonetic as the clothing is a
house or cover for the body. (W. 36 E.)

pa841, To take hold of, grasp, classifier of

things held in the hand. Read pa4, a
handle, pa8, a handful. “ To clap EL the
hand sp. on something.”
$ shou3, The hand, handy, skill, workman. It is
the radical, No. 64. When written at the
side called t'i2 shou8. X is the pic¬
ture of a side view of the hand, ^ is the
full palm. In the ancient writing the ^
represents the lines in the palm. (W.
48 A.)
 21

E.3 . pa1, A kind of boa, short and thick. It is re¬

presented raised on its tail. It is found
in the south ; its flesh is eaten and its skin
is used to cover guitars, H pa1. (W. 55
L.) It also means a slap, clap.
54
i*, A chair. The radical is mu4, the 75th.
(See No. 25.)
ch'P, Unusual, strange, rare. That which
causes men % to exclaim in admiration ^f.
ta4, Great, 37th radical, in combination
means man, representing head, arms and
legs.
"pf, y k’o3, To send forth a breathing of approba¬
tion 1* from the mouth P, to express
satisfaction, to be willing, permit, admire.
Logical combination (W. 58 I). The
Chinese, being used to sitting on their
heels, or fiat on the k'ang, the chair seems
so much more comfortable as to be a sur¬
prising or strange thing.
55
cbaug1, To draw a bow, stretch, extend.
Classifier of things of extended surface.
V^t jp Q kung1, a bow, is the radical, No. 57. A pic-
ture. Ancrent forms also represent it
bent or vibrating. (W. 87 A.)
A# cbaug34, To grow, excel, senior.
Ei SSL cb'ang2, Long. The primitive form represents
^^ locks of hair so long that they must be
tied by a band — and a hairpin Y. With
fc, an inverted or changed man, added, it
means manhood, grown up so the hair is
long. By extension it means long in time
or space, to grow. The modern form is
22

an arbitrary contraction. 168th radical.

(W. 113 A.')
56
cho1, Table, mu* is the radical. (See No.
25.)
A* cho1, Surpassing, high, elevated. It represents
a mast surmounted by a globe and a
dame, an ornament of which the Chinese
are fond. It is imitated in the yamen flag
staffs. (W. 143 F.) A table being high
as compared with chairs and stools, this
phonetic meaning high is selected appro¬
priately.

BALLEK, LESSON III.

chung\ The middle, among, in. Chung\ to hit

the mark, attain, pass an examination.
The character represents a square target
pierced in the center by an arrow. The
form of the target is lost in this modem
writing, but is retained in yung,4 (W.
109 A.) (See No. 225.)
kuns, A down stroke, a perpendicular, is the
radical, No. 2. It has a symbolic signifi¬
cation in many characters, e.g.: the trunk
in mu*, tree ; an arrow in chung1; a
spindle running through two objects in
$ ch'uan*, i.e., to string together; a bow
string in $1 yin\ to draw a bow, to lead ;
a man standing in $ shen1, to gird one’s
self. (W. 6 A.)

pa?, One hundred, many, all. The unity of

hundreds is represented by — i1, one, and
 23

fi paP, white. It is purely a phonetic

combination. & is the radical, 106th.
/ ' (See No. 6.) (W. 88 A. and B.)

ch’ien1, Thousand, very many. Ten -f* hun¬

dred (but the I? pai3 is not here).
“J“* shih2, Ten, symbol of extension in two dimen¬
sions, is the radical, No. 24. The J at
the top of the character is the abbrevia¬
tion for A jen2, which is phonetic in this
character. (W. 24 D. and A.)

wan*, Ten thousand ; an indefinite number,

wholly, emphatic particle. Written Rf it is
the Indian swastika, symbol of Buddha’s
heart, also meaning 10,000. The radical
in Kang Hsi’s dictionary is -h- t’sao3, but
the character has nothing to do with that
radical, originally it being the picture of a
scorpion, B being the feelers,
being the head, and (fc) #] the legs and the
tail. It was then pronounced ch'aP, but
as there were other words for scorpion it
was borrowed for the meaning 10,000.
(W. 23 H.)

1'wg2, Small rain, or last drops of a shower,

a fraction, residue.
pjf,(=pj yii\ rain, is the radical, the 173rd. It repre¬
sents drops of water X (the same primitive
as in mi3, No. 47), falling | from a
cloud II hanging in the sky — in. (W. 1 B
and 125 B.)
^ ^ ling*\ A law, an order, to command, your
honored. It is formed of A chi2, the
 notion of union, assemblage, being the
joining of three lines (see No. 18), and P
chieli2, a seal (see No. 42.) Therefore
'fr an order, is’ the uniting A of the
written document and the P seal,—i.e.,
the stamping of the order. (Note that
when P k’oua, is added, we have & ming*,
an order or command by word of mouth,
and the decree of heaven). (W. 14 A. 1.)

huP, To return to or from ; a time. Moham¬

medan. A turn or revolution. It re¬
presents an eddy (like the curling clouds
of smoke, or whirlpools in water) or an
object that rolls, turns on an axis ; hence
the abstract idea of revolving, return.
P weP is the radical, twice written.
(See No. 28.) (W. 76 G.) Also written lei.

ch'ing3, To invite, to request to engage,

ft is the radical, the 149th. (See No.
10.)
ff.lfcb' ing1 ,The green of sprouting plants, also blue,
black, gray, white of an egg. The 174th
radical. It is made up of shengJ,
plants, and # tan\ their color (red), as if
the makers of the character were color
blind. # tan1 is cinnabar, a red mercury
ore, represented by the * for the ore in a
crucible A where it was sublimed by the
alchemists in search of the philosophers’
stone for turning base metals to gold.
(W. llo D.) $ may be the Chinese stove
with the round hole red with fire.
 25

/ai3, To come; in the future. The radical is A

64
yen2. It is formed of 7ft, a primitive repre¬
senting a plant and M or ears of grain
hanging from it; a sort of bearded barley,
used as food in the Chou Dynasty. The
Shuo Wen says it means come, because the
grain eaten by men comes from heaven.
It is more probably a borrowed meaning
without logical explanation. (W. 13 B.)

65 R wen*, To ask, inquire.

mouth, No. 30.
The radical is P A’on8,
The P placed in a
F3 men2, door, is a suitable character
for the meaning, to ask. (See Nos. 5 and 9.)

66 &.& tso4, To sit down, to rest, to place, to reign.

The radical is ± tV, the 32nd. Two men
sitting on the earth db tV, face to face
to talk. (W. 27 D.)

ch’ii\ To go. U ssu1, is the radical, the 28th.

It is made, however, from a picture of an
empty vessel U ch!ix1 and its cover dh;
hence the meaning of to empty, to remove,
leave, go, all being ideas connected with
the removing of the cover of a vessel and
its contents. The top resembles dt fu6 in
the modern writing, and A ta4 in the old.
The bottom is like U ssuS but here stands
for U ch’ii1, a basin. (W. 38 F.) See 89.

Jiao9, A child in swaddling clothes. (Compare

No. 1.) This character being of no use
was borrowed for the common suffix to
denote past time in a verb, or the end of
26

a sentence, conclusion, intelligent, clear.

(W. 94 H.)N J kun3 is the radical, No. 2,
perpendicular.
69
tui4, Opposite; parallel sentences on scrolls
hung opposite each other; to correspond
to, to suit, match, agreeing with ; sign of
dative.
d\S| t’sun4, inch, is the radical, the 41st, to mea¬
sure. The dot represents the pulse on the
wrist about an inch from the hand. In
composition used often for hand. (W.
45 B.)
tsao2 Luxuriant vegetation, being a repre¬
sentation of its branching into many
twigs from a single stem; emanation,
multitude, faggot. (W. 102 I.)
± shih4, A scholar, gentleman ; the 33rd radical;
from — i1 and -p shih2, because all things
are comprised between the numerative one
and ten, therefore an affair (same as Ifl),
a thing, and by extension a sage, scholar
(W. 24 C.). Before 100 B.C. P k’ou3 was
in the place of dt shih4. Tui4 therefore
means to apply a measure d* t'sun4 to the
luxuriant emanation ^ of men’s mouths P
k’ou3, i.e., men’s testimonies. Emperor
Wen Ti, in 100 B. C. changed the writing
to ± shih* to remind his officers that men’s
testimonies P must not be believed, but
only the words of the d: sages, which alone
deserve to be examined d-. (W. 102 I.)
70
kuo2, A state, country. From n we/2, a boun¬
dary (the radical, No. 31) and
 27

yu4 a primitive appanage, post, a center ; the

hao4, land — that one baron defended with
/ the weapons 3<i of his retainers, around his
□ castle, or town, whose limits are not
indicated because there were none. Pro¬
nounced huo4 it means by extension an in¬
determinate person, whose name is not
given, being known only as from a certain
estate; by extension, again, uncertain,
perhaps, “a certain one.” With the □
weP or boundary added, it becomes an
estate well defined, a country (H. (W.
71 J.)

sheng\ Sound, music, voice, accent, tone; to

declare
A A erhz, ear, is the radical, the 128th, used in a
natural group of characters relating to
hearing. It is a picture of the external
ear. (W. 146 A.)
jSt ch'ing4 On the right is 5! shu*, the 79th radi¬
cal meaning the right hand (W. 22 E».),
making a jerky motion, to strike, a staff,
^ to kill. On the left is a primitive pictur¬
ing sonorous jade or quartz stones sus¬
pended from a frame to make a musical
instrument; these stones were in the form
of a carpenter’s square, and were struck
like a triangle. The character is now '
written with a 35 shih2 p is used as
an abbreviation of WL. The combination
of ear % and musical stones p struck by
the hand naturally makes M sound.
(W. 173 A.)
 shadi, To talk, speak, converse, sayings,
doctrines. >
fj yen2, is the radical, No. 149. (See No. 10.)
yueh4, To speak, to rejoice, i.e., good words
ft that dispel A grief and rejoice 5: the
hearer. This is made np of % (huang4,
ancient pronunciation, a mouth P on top
of a man A, or to speak authoritatively ;
pronounced hsiung2 it is the oldest brother
who must exhort his brothers) and ^ to
dissipate the breath or divide it into
words, to speak. By an arbitrary modem
borrowing the character is read tui4, and
means exchange. (W. 29 D.)

baa4, Words, discourse, a language. Words W

of the ‘S’ she2, tongue.
tf yen2, is the radical, No. 149. (See No. 10.)
^ she2, Tongue, is a picture of the tongue pro¬
truding from the mouth. (Compare H
ban2, the tongue drawn back into the
mouth (§.) It is the 135th radical. (W.
102 C.)

ch'ib1, To stutter, to swallow, to eat; to suffer.

P *W, mouth is the radical, No. 30.
^ ch'P To beg. It is a contraction of s ch’i4,
vapor, breath,—the 84th radical. (See No.
47.) In this form it is borrowed for ^
kaP to mean beg. (W. 98 A.)
To stammer ȣ is to fill the mouth P with
breath and make no progress in speech.
In eating one mouths the food as in stam¬
mering one mouths the breath, hence to eat.
 29

/an4, A meal, cooked rice (the chief dish of a

meal).
shift1, to eat, is the radical, No. 184, re¬

t lating to food in general. It is formed of

A chi*, to collect (see No. 18), and § H
hsiang1, boiled grain, the sweet smell of
the M fan*. It is a picture of the bowl 6
and its contents—, and a b pi8, spoon, to
ladle it out. b pi*, spoon, is the 21st
radical. (W. 26, C.L.M.) Gather A the
family to eat It the rice 6..
K fan3, To return, turn back, turn over; oppo¬
site ; to rebel. From Xyu4, hand, and P
a representation of the motion of the hand
in turning over. (P /tan4, is a cliff, a
retreat, shelter. Radical No. 27.) (W.
43 E.) In eating the hand returns again
and again Bi to the mouth with £ food.

erh2, A male child, a person with the fontanel-

les not yet closed, a child.
JL >ns, man, the 10th radical, is the radical of
this character.
The upper part is written like 0 chiu*, the
134th radical, but it is really ft hsin\
skull, open above, as the skull of an
infant. (W. 29 B.)

hsiao8, Dawn, bright, to understand ; i.e., a

high and bright S sun B.
0 jih*, sun, is the radical combined with
jg. yao2, eminent, lofty. From & yao2, earth,
heaped up (three ± earths) and % mi4, a
high base, level on top. IB Yao2 is the name
of a famous ancient emperor, 2300 B.C.
 (W. 81 C.) When the sun 0 is high §1
one can see and understand ?£.

te1, To get, receive. ,

^ ^ ch'ih4 to take a step forward with the left
foot, to walk (60th radical) is the radical
(W. 63 A). It was added to this char¬
acter late, and is superfluous.
4f\ @ t& to obtain, to get, is the original writing of
the character, # and in the seal writing
shows its etymology, viz., to get the hand
on that which one has in view j|.
The j| chien4, see, is reduced to JL (W.
45 E.) See No. 85.
t'sun4, Inch. See No. 69.

mo4 or meP, To sink in the water, to dive, to

perish ; none of, not, least, without.
?K, 'l' shiiP, Water, is the radical (No. 85.) The
central stroke represents a rivulet, and
the others the ripples on the surface of
the water. (W. 12 A, B ; 125 A.)
a* mu2 To dive, while turning 13 hai2, on oneself
in order to get X something under the
water, the head being below. The @ haP,
is changed by scribes to 71. (W. 76 I.)

chii4, A sentence.
o k'ous, mouth, is the radical with
pao1 to wrap up, (the 20th radical), from a
picture of a man bending over to envelop
an object in his apron ; therefore to enfold,
a bundle, to contain, a whole. The mouth
P used to form a whole ^ phrase or sen¬
tence. (W. 54 A, for pao1.)
 31

tsai4, To be in or at; i.e., to exert one’s

powers & t’saP, on the earth ±.; or pre¬
sence in a place ± t’u8, is manifested by
one’s activity (W. 96 D.)
± i’u8, is the radical

r.^.t tfsaP, has been modified to It is a tree

grown to a size for timber, materials, now
written M t'saP; then force of expansion,
natural activity, mental capacity, talents,
the substance of a thing. (W. 96 A.)

jP, The lining of clothes ; inner, inside; to the

left (in rules of the road).
# i1, clothes, is the radical, No. 145; (see No. 51.).
Jj| IP, a village, is the phonetic, but being placed
inside the radical for clothes it suggests
the meaning of lining or inside. (W.
16 G.) It is the 166th radical, of a few
incongruous characters. It is made up of
£9 t’/eir, field, the (102nd radical), being a repre¬
sentation of a furrowed field, and of
4* I’u3, earth. Its common meaning of A'8, or
one-third of an English mile, comes from
the ancient custom of the smallest village
being composed of the fields of eight
families being arranged around a ninth
public field with a well represented by the
pictorial character # ching3 (the dot being
the well.) One side of the square was one
IP in length. When the custom went out
of use the character # ching3 lost the dot
and retained the simple meaning of well.
H3 t'ieri1 being easy to write, is used to re¬
present many objects. (W. 149, A and D.)
32

83 .j.
weP, To be, to make; wei*, for, because, in
w order to. >
Jfijk Jft, chua1, chao3, claws, the prone hand, is the
radical (No. 87/)
The seal character represents a mother
monkey, sitting with one hand at its head
and the other at the bottom of the char¬
acter mixed up with its tail and feet. In
the middle is the character for man A
because of the monkey’s likeness to a man,
and the primitive character for breasts to
show that it is a mother. The Shuo Wen
says that of all animals (literally “birds ”)
the female monkey is most prone to claw
K 3$ # JR. and therefore the character
chao3, stands as its symbol. There is
an ancient writing consisting solely of two
claws O. The character has lost its pri¬
mitive meaning, and now is borrowed for
to be, because, etc. (W. 49 H.)

BALLEK, LESSON IV.

84
_^ ch’ttang1, A bed, couch, sled.
tI.H ctiiang*, is the radical, No. 90, a heavy
slab, a thick, strong plank. It is the left
half of the A mu* as written in the seal
form (W. 127 A.)
mu*, Wood. A bed is made of strong pieces
5\ of wood A.

chicn*, To see. This is the 147th radical, of

characters relating to sight, perception.
 33

Wieger explains it as an eye B mu4, on a

man A (W. 158 C.) But Chalfant finds a
writing more ancient than the seal writing
which is a picture of the eye emitting
light. The Chinese believe that light
comes out of a normal eye, enabling it
to see.

ti4, An order, series; before a number it fonns

the ordinal.
It c/m2, bamboo, the 118th radical, is the radical.
(See No. 7.) It is chosen perhaps beeause
of the graduation of joints in a bamboo
stalk.
tj4, Represents a thread or cord wound around
a spindle having a catch on top and a
catch or winch below. It is a primitive
bobbin or reel, and means by exten¬
sion a succession of brothers, and now
only the younger brothers. This primitive
is appropriate for series, as is also the
bamboo, -ft used as its radical. (W. 87 E.)

chang1, A strain in music or a chapter in a

book, or an essay; rules.
3 A4, to establish, stand, (the 117th radical) is
arbitrarily taken for the radical; but the
etymology is from # yiti1 (See No. 39),
sound, and -+* shih2, ten, a perfect number.
1 herefore ten -f* sounds or strains #
constitute a musical composition; and
the meaning is extended to a chapter, or
an essay. (W. 73 E.)

tao4, To arrive at, to reach.

34

tao1, knife, is the radical (No. 18.) (See No.

37.) But'here it has phonetic force as
well.
chih*, To go, to arrive at (classical). The
133rd radical. It represents a bird
flying down to the earth, —, therefore to
arrive, reach. (W. 133 B.) It is both
pictorial and indicative in its composition.
89
hang1, ked, lucky, pleasant.
ssu1 or mi* is the radical (No. 120.) (See No.
8.) Textile matters, especially silk, in¬
terested the Chinese from ancient times
hence the importance given to these ele¬
ments in their writing. U 6 ssu1, the
28th radical, is a single cocoon in which
the worm wraps himself up, caring for
nothing but self; therefore the meaning,
selfish, private, separation. (W. 92 A.)
Xx kung1, is purely phonetic. Work, workman,
time of work. It pictures the ancient
carpenter’s square, and so by extension
means work, skill, or any ornament re¬
quiring skill. (W. 82 A.)
Red not being a natural color of silk ^
it requires the work X of the dyer to pro¬
duce red silk.

haoz, Good, right, very ; hap*, to be fond of.

From it nus, woman, and T1 £zu3, child.
Wife and child -? are what one is most
fond of jtp. (Or the fondness of a woman
for her child.) See No. 1.
nu8, is the Radical, No. 38. It originally was
1*1 a woman standing in ceremonial attitude
 35

with arms hanging and crossed over the

body. So symmetrical a character was
hard to write, and the seal is a modifica¬
tion of the more ancient form. (W.
67 A.)

shang4, Above, superior, to mount, upon.

~4 representing a horizontal base line, is the
£ radical. The perpendicular line above it
represents something above the level. (An
indicative character.) It was originally
written H, the short upper line represent¬
ing something above the longer base line.
At the top of some characters it is written
-a-, as in jfc # where it is distinguished
from t’ou2, the fictitious eighth, radi¬
cal. (W. 5 A.)

hsiai, Below, to descend, inferior.

—* i1, is the radical, with the perpendicular below
"j2 it to represent something below as in the
preceding character. It was anciently
written IT the longer line representing the
base. (W. 5 B.)
93 Ji*
71j wan2, Finished, complete, to settle (as an
affair).
mien2 house, roof, is the radical, No. 40. (See
No. 1.)
JC yuan2, That which is upon H (equivalent to
_t, See No. 91.) a man )l, i.e., the head,
origin, principle. While phonetic in force
in this character, we may say, “ Putting
on the roof over the head % finishes %
the building.” (W. 29 H.)
 sang*, To escort, to see a guest out; to give a
gift; to accuse at court.
5^ cho4 going, is the radical, No. 162.
cheng* A fire that can be handled, as to bend
planks for a boat or to caulk a boat;
charcoal.
A torch ft carried to escort a guest out
^ is a suggestive phonetic and of no
value to the beginner. (W. 47 J.)

kuan\ A cross bar of a gate, to shut or bar

the gate, a custom-house barrier, suburb.
men2, door, is the radical, No. 169. (See No.-5.)
IS, I? kuan1 To pass threads through a web with a
shuttle. The $6 ssu1 (contracted into u)
represents the warp. The down strokes
in the lower part represent the shuttle
carrying the thread through to form a
woof. (See Nos. 8 and 24.) By exten¬
sion it means to join, to fix transversely.
(W. 92 G.) The cross bar of the gate
passes through the slots and iron loops
like a shuttle passing through the warp.

skill*, To serve, affairs, office, matter, anything.

J kou1 is the radical, the 6th. It is from
A, v shih\ shows a hand holding as tylus. A
^ recorder, to record. In $ the top is
chih\ the pronoun it. An event 2£, record
Si it ;£ faithfully.

ch'uan\ To bore ft with the teeth Sr, to per¬

forate ; to put on clothes, wear; to thread,
to string.
yV hsiieh**, A cave, a hole, any dwelling, i.e., a
 37

room or space ^ made by the removal A

pa1 of the earth ; to dig through, bore.
The 116th radical. (W. 37 A, D.)
ya2, The teeth, the grinders or molar teeth,
hooks. It is a picture of the grinding
face of a molar. The 92nd radical, (cf.
W. 147 A.) Chalfant IV, Williams.
98
chiu*, To go or come to, to follow ; to make
the best of; then, soon, immediately.
wang1 radical No. 43, is the radical under
which it is found in the dictionaries. A man
who puts his weight on his right leg ; to
spring; lame, crooked, also written
(W. 61 C.) This classification was an
etymological error, however, for it comes
from
Xh yu\ which in the seal writing pictures
a dog with its ears pricked up. By
extension, attracted to, surprise, strange.
(W. 134 C.)
3A, rfC ching\ The capital; originally high, elevated ;
being a contraction of iU kao1, high, the
bottom changed by substituting J for P,
adding the idea of elevation, and by
reducing fl to A; it has nothing to do
with /]' hsiao3. The capital is the place
to which the people go; hence towards.
fflt Admiration or attraction to % some¬
thing high iU therefore to go towards, to
follow, consequently. (W. 76 C.)
Chalfant finds an ancient form of JrC
£ picturing the gate tower of a walled city
with the opening in perspective.
38

99 t'ingx, To hear, to listen, to understand, to

allow. s

IF erh3, the ear (see No. 71.), is the R., No. 128.
t'ing1 Good, full; from a man standing on the
earth in his official position (to be dis¬
tinguished from jen2), is the phonetic.
(W. 81 D.)
j§,® te2, Virtue. Therefore we have H t'ing2 as the
virtue |§f practised by the ear ^; i.e.,
hearing, to obey. % te2, used for the
Christian term character, virtue, is usually
written f§, with the ^ adding the idea of
going out to others, action. Its composi¬
tion is of jg chili1, upright, and >5 hsin\
heart; an upright heart.
chili, is composed of L representing a horizon¬
tal and a perpendicular, -f* ten and S eye.
Before the days of square and plumb-line,
ten eyes were called on to test the straight¬
ness of the frame of a house. The L is
often changed to a single straight line. It
is often written incorrectly jt as if of two
strokes. (W. 10, K.)
100
MV chih\ To know, perceive ; chih*, wisdom.
sA/A3an arrow, dart, is the radical, No. 111.
ft It is a picture, the point above, notch and
feathers below. Therefore an action that
has come to an end, irrevocable, as an
ancient form shows the arrow fixed in a
man’s body. (W. 131 A.)
United with n k'otf, mouth, we have the
knowledge possessed by one who can give
 his word, opinion, with the precision and
speed of an arrow. Knowledge 4jj is an
* ' arrow mouth O.

tao4, To go at the head, to lead ; a road, a

path, principle, doctrine ; the progress of a
speech, to speak.
cho4 is the R., the 162nd, to go. (See
No. 10.)
©sm*

shou3, the head, is the primitive W shous, head,

with the hair added, being a pictorial
character. is not «< ch'uan1, streams,)
185th radical.
To lead, road, li, is to go ft. at the head,
■ft*. (W. 160 A.) It is the way not only
for the feet to walk in HL but also for the
thoughts # to move in.

k’an*, To look, to see, to regard carefully. It

is composed of;—
mu4, an eye (which is the radical, No. 109), a
picture (compressed and often set upright
to save room), (W. 158 A.) and
4H

shous, the hand, covering the eye or shading it.

“ For,” says the Shuo Wen, “ one shades
the eyes in order to see better, cutting off
the rays of the sun, and gathering the
light ” from the eye. (W. 48 C.)

na2, Hands ^ united & ho2; to take, to sieze ;

a sign of the accusative when placed before
the noun.
shou*, hand, is the radical, No. 64. (See No.
53.)
D>

ho2, joining, uniting, union, harmony. Form-

40
ed of A chP, a triangle, union, being three
lines united (see No. 18), and d k'ous,
mouth. Three or many A mouths D
together shows good understanding, har¬
mony. (W. 14 A, B.)
To take with the hand ^ requires the
hand ^ to come in contact with & the
object.

pien\ To walk on the edge of a precipice, to

fall in and disappear; a bank between
fields, margin, edge, boundary, i.e., the
place where the thing disappears.
3^=56 cho4 to go, is the radical, the 162nd. (See No.
10.)
yen1 Disappearance, absence. In modern writ¬
ing the (rfl (double cover) has been changed
to arbitrarily. It is made up of:—
i.g tzu*> a picture of the nose ; a starting point,
origin, beginning, evolution; the nose
being, according to Chinese embryology,
the starting point in the development of
the body ; self, I, my behavior, to act; the
nose being the projecting part and in a
way the characteristic of the person ; the
^ 132nd radical; (W. 159 A.) and
/V hsiieh2, a cave, storehouse, and
a double cover meaning invisibility.
Therefore % yen1 is an object that was at
one time § tzu* in a storeroom "/Z and
later on disappeared Therefore it is to
walk *1. on the' disappearing line ; the
edge. (W. 34 K.)
105
t ou , I he head, the end of a beam or street,
 41

etc., the beginning ; a classifier of affairs,

cattle, etc.
.W, ® yeA4, Head, page, man. A picture of a head or
face W upon a man A. It is the radical,
the 181st. (W. 160 C.)
as. tou4, A sacrificial dish, a dish in which meat was
served; beans, (being used for Iff ton4). The
151st radical. It is possibly a suggestive
phonetic in this character. The skull
encloses the brain as a dish its contents,
and the Thibetans use the skull bone for
a dish, on a tripod standard. (W. 165 A.)

hsiang1, A box, a chest. (Larger than S* zf-

hsia? tzu.)
Yf chu2, bamboo, is the radical, the 118th, indi¬
cating the material. (See No. 7.)
mss hsiang1, to examine, to inspect. It may be
from g mu*, to watch from behind a
inn4, tree ; or to keep the eye g open in
the ;fc woods so as to avoid danger from
foes or beasts. The more common abstract
meaning of mutual, reciprocity, etc., is said
to come from a kind of pun, both elements,
/K and- g being pronounced alike, mu4. It
is purely phonetic here. (W. 158 B.)

BALLER, LESSON V.

wan3, Late, evening, sunset, twilight, late in

life, tardy.
g jjh\ sun, is the radical, No. 72, as the charac¬
ter has to do with the declining sun.
^ ^ mien3, a man whose sides are swollen out
 O with his effort, and whose legs are
spread outsto prop himself firmly to fight
or ward off some evil; therefore it means
to avoid, without. In it is purely
phonetic. (W. 106 A.) According to Mr.
Chalmers % is a man trying to hide him¬
self by drawing in to his clothing ; hence
to avoid. The sun 0 withdrawing jfe, it
is late

ch'ien2, To advance, forward, toward, before,

formerly.
J) tao1, is the radical, 18th, arbitrarily fixed
without reference to the etymology. The
upper part il is a contraction of Jh, chih\
to stop, and the J|iJ is a contraction of
chou\ a boat, the 137th radical. It is
a picture in the seal writing of a boat
with high curved prow, a deck supported
by one of the partitions in the hull, an oar
in front and a rudder behind. It is
straightened and placed upright to save
room. (W. 66 A.) A boat ^ advancing
ffl into the harbor where it will stop Jh.
(W. 66 D.)

k’ttai'4, A flow of spirits, cheerful; promptness,

rapid, sharp, quick.
* shuA hsin1, is the radical, the 61st, meaning
heart. See No. 18.
fij chiieh2 To divide, to partake, a hand ^ holding
a half of a ^ chung1 or object of any
kind, that may be equally divided.
(W. 43 0.) The splitting is instantani-
ous when sufficient force is applied ;
 43

therefore quick. As quickness depends on

the mind, thus the radical ifr is added.
110
nierf, A year ; at first, the crop or harvest, and
then the year, for that is the time taken to
. produce the thousand grains.
I * I kan1, A shield, is the radical, the 51st; a trunk
-f" or stem ; to look after or concern ; origi¬
nally a picture of a pestle, so to grind.
The seal writing is a combination of jew*
man, and ch’ieri1, a thousand. This com¬
bination is difficult to explain. (W. 24 D.)
In the present edition the writing on the
Oracle Bones is followed, 4^ a man bearing
home a sheaf of grain. (J.M. Menzies.) Its
meaning was identical with the modern
meaning of 'B. sui*, No. 197 and 859.
Ill
tsao3, Early, morning, soon, formerly.
0 j/A4, sun, is the radical, the 72nd, as the idea
early, has to do with the rising sun. The
-p shih2 is an old writing of ep chia3, first,
a helmet. ^ tsao3 is the time of day
when the sun has risen as high as a
man’s helmet. It also means first ^ sun
B. (W. 143 E.)
112
m t’iao1, To carry a load from the two ends of a
pole, to stir up, to choose, to reduce.
sbous, or t’i2 shou3 is the radical. See No. 53.
^ chao\ omen, is a picture of the lines on the
back of a tortoise shell brought out by
heating for divination ; in the middle is p
pu3 in its ancient form ; an omen, a million
or vast number. (W. 56 D.) This phonetic
is the same as in t'ao2 to run. It is two
A pa1 characters, one outside the other
44

indicating wide separation. It is probable

that this jphonetic was selected as in
carrying a burden in this way, half at
either end of a pole, it must be divided or
separated.
113
*35 t'ien*, Heaven, the sky, a day, the weather,
celestial; the Emperor, great, high, any
superior over an inferior; moral superi¬
ority.
ta\ great, is the radical, but the meaning ot
the character is not the one — great ^c, as
it is often translated, but the one sky —
which is over man ~k ; thus it is an indi¬
cative character, not a logical combina¬
tion, (W. 60 C and 1 C.)
114
chieha, The nodes or joints of the bamboo, any
joint, knot, verse; a feast day; temperance.
chu2, is the radical, No. 118, bamboo. (See
No. 7.)
^ chP To eat, that which is done as soon as the
fragrance of the cooked rice g (see No.
75) is smelt. By extension a conjunction
meaning consequence in general, being the
equivalent in wen li of the Wt chiu4 of
common use. (W. 26 M.)
P,^ chieh2, is a suggestive phonetic in IIJ. It is
written either P or B. (See No. 42.) It
is the 26th radical, meaning joint, the
_ proper quantity. (W. 55 B.)

ch'u'' To cut out 71 tao1 clothes # i1; i.e.,

to begin making garments, which is the
first step in civilization; to begin, the
first, at first.
 45

J[j tao1, knife, is the radical, the 18th. For

i1, see No. 51. ^ The first thing in making
clothes is to cut out 7J. (W. 16 B.)

kei3, To give to, to let, allow, for, instead of,

to, Read chi3, to receive, to afford, to give
out.
7ft ssu1 silk floss, is the radical, No. 120.
^ ho2, To join, union, harmon3r. (See No. 103.)
To give is to join -ft silk threads Silk
is a popular present.
117
161,0 cA/ao4, To call, to tell, to command, to cause ;
the cries of the birds and animals ; named,
termed.
O k’ou3, mouth, is the radical, No. 30.
toil3, Measure, ten -f* shengx or pints J\-. It1S a
picture of the peck measure, said to be a
scoop with a handle : 68th R. (W. 98 B.)
Pj. is to call out O the measure
118
pan4, To divide in two ; a half, a large piece of,
-f-* shih2, ten, is the classification in the standard
dictionary, the 24th radical. It comes
etymologically from A, to divide, and 41
an ox. (See No. 50.) To divide A an ox
into two halves as butchers split the
beef down the backbone. (W. 18 D.)

119
kuo4, To pass by, cross over, to pass time, to
exceed, sin of ignorance, sign of past time.
56 cho4 to go, is the radical, the 162nd. The
rest is a suggestive phonetic. See No. 10.
kuazi A wry mouth, hare lip or cleft palate.
It is from P Afous, mouth ; and
ft, ft kua3, Skull and bones, to strip off the flesh, to
o bone, to disarticulate, broken, and so
** a defect. The ^ to go, means action and
i§I kua3, defective; defective action is sin
Xk. (W. 118 A.)

chin3, To bind fast, to press tight, urgent, im¬

portant. From
ssu1, mi*, a silk thread, the 120th radical and
chien1, firm, solid. To have hold ^ of one’s
servants B, ch'en2; B a servant bending
before his master, the 131st radical. (W.
82 E.)

Is, A form of g or B already.

J^jen2 man, is the radical.
When preceded by 'BJ’ k'os, could, it is equi¬
valent to can be, may be. It is a very
ancient primitive representing the exhala¬
tion of breath, the virtue of any object, its
use, and so use until exhaustion, to end, to
be no more, passed, already. It is writ¬
ten in four ways in modern times, £ g ^
When written it means use, by, with,
by means. (W/85 B, F.) is the radical.

ch'en2, Sun shining forth, morning.

Q jih4, sun, is the radical, No. 72.
E5 jjg ch'en2, A day, time, the 161st radical; 7 to 9
A.M., the heavenly bodies. These are
borrowed meanings ; the original means
to be pregnant, a woman who bends for¬
ward F1 jetr to conceal mien'4 her preg¬
nancy, “ her shame,” says the Shuo Wen.
(W. 30 B.) For another explanation see
No. 864. Purely phonetic here.
 47

mien* A woman sitting, — is the girdle, at the

left is the seat, at the right is an apron
that hides the front of the body, the preg¬
nancy, says the Shuo Wen. Therefore the
meaning to hide, conceal. (W. 112 L.)
123
tso2, Yesterday, time past.
jih4, sun, is the radical, the 72nd.
wang1, A primitive meaning to hide, from A
ju\ to enter, and L a hiding place.
cha4, is IA plus — which represents an obstacle,
that is, to seek to hide and to be hindered ;
therefore the modern meanings of sudden¬
ly, hastily, unexpectedly. (W. 10 F.)
yesterday has passed suddenly out of
existence. The sun 0 hastily ^ hid.
124
hsien\ The glitter j| of gems, 3* ; to appear,
to manifest; at once, now.
yu4, a gem, (the radical, No. 96), jade, pearly,
half translucent stones. The character
represents three pieces of jade strung to¬
gether, the dot being added to distinguish
it from 3E wang2, king. (W. 83 A.)
^ chien4, to see ; the appearance of. (See No. 85.)
125
WMS shiti1, Time.
Q jih4, sun, is the radical, No. 72.
ssTi4, temple, is the conventional phonetic for
the modern writing, db - ;£ chih1 is a small
plant T issuing from the ground —; to
grow, development, continuity. Standing
alone it is borrowed now for the sign of
the genitive or possessive case in the
classic language, t’sun4, inch, rule,
law. Hence the ^ ssii4 or temple is the
 place where the law tj* is applied con¬
stantly (W. 79 B.)
The ancient writing of shih2, was •§-,
meaning the time of sprouting of plants
under the influence of the sun, or perhaps
the continuity ± = ;£ of the solar 0
periods. (W. 79 B.)

hou*, To wait, to expect, to inquire, a time or

period.
A jen2, is the radical, the 9th. The character
was originally written meaning a noble¬
man, and read hou2.
ft? hou2, The upright stroke was inserted, some say,
to differentiate the meaning of wait, time,
etc. Others say it is the archer’s attendant.
The original character is composed of ^
arrow (see No. 100), sticking in the
target above with a man beside it '*•
The man is reduced to \ and the target
to jl. Shooting at a target was the
means of selecting officials, for the good
shot must have an upright heart, so the
character means a nobleman. With the
\ reduced to j and another f added it
means to wait ^ as a target marker
does. (W. 59 H.)

mingbright, the dawn ; evident, open ; intel¬

ligent ; illustrious in virtue.
jih*, sun, is the radical, No. 72.
yueh\ moon (see No. 43.) The sun and the
moon are the two brightest things. The
early seal character has the character © for
window instead of 0 sun. Here the idea
 49

of brightness was from the moon shining

in at the window. (W. 42 C.)

t'sung2, To follow, obey. A man walking

after another, and often written M to re¬
present that idea.
ch’ih* is the radical, No. 60. is two men 4K
walking ^ and stopping it together, i.e.,
to follow, obey. (W. 27 A.) In the seal
character the and Jh are united into a
H cho*, going. See No. 10.

VOCABULARY I OF BALLER'S LESSONS.

"8 chi*, To remember, being composed of W word,

and g, self, succession ; to record ; a sign ;
to tell m the succession EL of facts.
yen2, words, is the R., the 149th. (See
No. 10.)
pi, ^ ch?, self, in the seal writing represents threads
on a loom, two of the warp, horizontal,
and one of the woof, perpendicular ; hence
the meaning of succession; the 49th R.
It is borrowed to mean self. (W. 84 A.)
130
man*, Remiss, rude ; to treat haughtily ; slow,
easy, sluggish.
‘|‘ hsin1, called the shu* hsin\ is the radical, No.
61, as the qualities are those of the heart
or mind. cf. k’uai*, quick, No. 109.
. # man2 the phonetic, means to draw, extend or
pull out with the hand, long. 1=1 mao* is a
hat or cap (picture FI with a — to re¬
present the head), fi g mao*, to rush on
 heedlessly or with the eyes covered. The
B is written horizontally to make room
for the % hand, which pulls. (W. 34 J.)

ch'ang2, Long. The 168th radical, used in

matters relating to hair, as it is a con¬
traction of piaoS bushy hair, the 190th
radical. The seal writing shows that it
is hair so long that it must be tied with a
band —, and pinned with a brooch y. It
also means growth to manhood when the
hair is long, and is read chang\ for the
meaning growth. It also had the inverted
man placed below {$ to indicate change or
growth. The modern form is an arbitrary
contraction. (W. 113 A.)

tien4, A shop, an inn.

r,r yen3 A single slope shed roof, being half
of mien2, or roof; a declivity or
slope ; the radical of this character, the
53rd; an outhouse or hut. (W. 59 I.)
(See No. 24.)
chan1, To ask p about some enterprise bv heat¬
ing a tortoise shell h ; divination. It is
purely phonetic unless we think that the
diviner lived in a sort of public inn or
shop, and a diviner’s house was one of the
first kinds of shop. (W. 56 B.) £ has
the same sense as fA to usurp or to occupy,
hence well used in /£ tien4 inn where one
occupies a room for a consideration.

lien3, Face.
$J, jou4, Flesh, meat, made up of ^ pao\ a bundle.
 51

and ^ strips of dried meat; the 130th

radical and the radical of this character.
/
/
(W. 17 G. and 54.)
ch'ien1 All, unanimous, meeting, together.
From A chP, together, M several men and
Rn hsiian\ clamor. A crowd cannot keep
silent. Suggestive phonetic, for the faces
are the conspicuous feature of a crowd.
(W. 14 E.)

hvt, A pot, a jug.

i shihA, a scholar, is the radical, the 33rd, but has
nothing to do with the meaning, as it is
simply the picture of the cover dr on a vase
'ST. Compare ch’iP, jfe No. 67. (W. 38 G.)
135
chiao8, A foot, a base.
;ou4, flesh, is the radical. No. 130. See No. 133.
ch’i'ieh*, To throw aside, referring to the leg
being thrust back when sitting flat on the
ground. It is composed of 11 chieh2, the
radical, No. 26 (see No. 42), and ^ ch’u4,
to go, reduced from & cA7ao4, the upper
lip or £ flesh above the P mouth. To
restrain J1 the desires Q. The character
is still written W. (W. 17 H.)

ch'ing1, Light, not heavy. To think lightly of;

to slight.
cAV, is the radica , classic chit), a cart; the
axle 1 two whec s, H and the body El; it is
set upright in writing to give more room;
in composition it means to roll, to crush.
It is the 159th radical of characters relat¬
ing to vehicles. (W. 167 A.)
 |p ching1 is a pure phonetic here. It represents
the streamy ® flowing under the surface
of the ground —, and the X is not kutigl,
but X t’ing2, and is of phonetic force only,
as seen in the seal writing. (W. 12 H.)

M kan1, The drying effect of the sun, dry, ex¬

hausted, to dry, clean. Adopted as a son
by contract. Read ch’ien2, the cloudy sky,
heaven, the powers of nature, father.
ZL j\ one, a stem, curved, vapor, is the radical, the
5th. A redundancy, however.
kari1 is the sun 0 penetrating thejungle IP and
drying up the vapors that were lying low
on the ground T The lower part of the
TP is suppressed to give place to the V
vapors. It has the idea of evaporation,
fogs lifting, sun rising, etc. With the
adding of Zi to form $£ ctiien2, the idea
of rising vapors is intensified, and the
character means cloudy sky, not the
blue firmament. It is used for kan1, dry,
by a license instead of in which ^ re¬
presents the drying effect Zj of the sun
upon dampness. (W. 117 D.)

lengf, Cold, chilly.

✓ , ping1’ To freeze, ice. It represents the crystals
that form on the surface of freezing water.
It is the 15th radical of characters refer¬
ring to cold and ice. (W. 17 A.)
^ ling*, A law, an order, to command, your
honored. Pure phonetic in (W. 14 I.
See No. 61.)
 53

7*o4, Hot, to warm, fever.

^ huo3, fire, is the radical, No. 86. (See No. 47).
Here written to save space.
chih2, to grasp, to seize, to hold, to attend to.
It is composed of
nieh* a man Jz (changed to zh) who commit¬
ted an offence ¥ twice v or repeatedly,
i.e., a criminal; (^ yen3, is a second
offence.) (W. 102 F.) and
3\j chi4 to hold, to keep. A picture of a hand $
grasping something *1. It is changed
in composition frequently to % and fL.
(W. 11 E.) Hence the meaning of
chih2, is to sieze % a criminal or to
grasp anything. (W. 102 G.) Jo4 is
the sensation when you grasp fire A-

shed, Deep, profound, ardent, intense; deep

tinted.
7jC s/mi8, is the radical, the 85th. (See No. 79.)
^ shenx is the Chinese hearth or stove, or small
cave-like hole % under the kettle, (or in
the k ang*) in which the hand ^ pokes the
fire ill. It looks dark and deep, therefore
the meanings deep, profound. The fire
and hand ft have been transformed into
7k and the dot on the % hsueh2 has been
arbitrarily omitted by the scribes. Com¬
bined with '/ water it means deep ; com¬
bined with t hand, it means to fathom,
or probe ££ t’an14. (W. 126 B.)

sbih\ Moist, wet, damp, low lying ground,

dejected.
54
shuP, water, is the radical, the 85th. (See
No. 79.)
hsien3, Two silk threads $& exposed to the sun
0 where they become visible ; so, to be
visible, to appear, remarkable, evident,
bright. The bottom of the character is
contracted from 14 to m\ (W. 92 E.)
The water tR appears Jk in a wet place
In another writing yf| the m is replaced by
— and the/** by ± fa3, giving the mean¬
ing of the earth dh where water 7jC ap¬
pears !$. (W. 92 E.)
142
kao1, Lofty, high, eminent, noble, high priced,
excellent.
The 189th radical. In composition it
is variousljr contracted, overturned and
mingled with other elements. It re¬
presents a high pavilion on a lofty
foundation n, and with a hall 0 where
the people sit. (W. 75 B.) See No. 98.

taP, A girdle, a sash, belt, zone ; to take along

with one as if worn at the girdle, to bring,
to take, to lead, together with. It repre¬
sents a belt — with trinkets hanging from
it 'U», and the robes falling below ^ one
over the other. The lower part is made
up of two chin I]J characters one outside
the other. Chin1 If! is a handkerchief sus¬
pended from a girdle, the two ends hang¬
ing down, the ^ 1 also meaning suspension.
It is radical No. 50, relating to cloth.
(W. 35 A, and W. 24 Q.) dJ chin1 is the
radical of this character.
 55

144 k'uan\ Large, broad ; gentle, to forbear, slow,

to enlarge.
' mien2, roof, is the radical, No. 40. (See No. 1.)
^ huan1 A chamois with slender horns, -h* = Y
kuaf, (W. 103 C.) % represents the head,
legs, and tail, (often omitted). M may
mean broad because a spacious enclosure is
needed for the breeding of these wild
animals. (W. 106 D.)

145 ^.|§l chaP, Narrow, contracted, the opposite of

k’uan1; narrow-minded.
hsueh2 cave, is the radical, No. 116. (See No.
97.)
Sjp. cha4,To enter a hiding place and be hindered,i.e.,
crouching. Therefore we have crouch¬
ing down in a ^ cave, ^ narrow. (W. 37
G, and 10 F.) (See No. 123 for cha*.)

tsovP, To walk, to travel, to hasten, to depart.

^ The 156th radical. The seal character
above represents a man bending over to
walk rapidly and therefore means to
bend. The part underneath is Jk chih3, a
foot at rest, or to stop; hence the combina¬
tion may mean to bend the leg and to stop,
i.e., to walk. Williams. (Wv 112 A, D.)

147 ■jjtf fang4, To put out to pasture, to let go, to put;

loosen, liberate, to set free, disorderly.
£ pV to tap, to strike, oversee, is the radical,
No 66. A hand with a stick. (W. 43 D.)
iang\ A square, an open space, the 70th radi
^ cal. Hence the combination means Ik to
 drive out jjc into an open space or pasture
^T. Compare $c mo4, to drive J£ cattle 4S
a shepherd. (W. 117 A.)

chiang3, To converse together, to preach, to

explain.
f=t yen2, is the radical, the 149th.
kou* is a graphic representation of the timbers
in the roof and framework of a Chinese
building; hence its meaning of a network,
a setting in order, a combination. Com¬
bined with Is it means setting words H
in order f#, i.e., to explain, to converse.
Compare 1# wood set in order, the truss
of a roof. (W. 304 B.) Tuan shih’s Shuo
Wen says this character represents a net¬
work of irrigating ditches.

tso4, To act, to do, to make; to arise, to

appear; to arouse. It refers to doing
things, while fgfc refers more to making
things.
jen\ man, is the radical, the 9th.
cha*, Suddenly, to excite. (See No. 123.) No
etymology is given for ffc.

chiu*, To assist, to rescue, to save from wrong.

p’u1 to tap, is the radical, the 66th. (See No.
147.)
chym2, to ask, is the phonetic. Its meaning of
to ask, pray, ,is found in the supposed
custom of offering sacrifice and taking the
skin of the offering in the hand, to present
with the petition. The character repre-
 67

sents the hand ^ holding the tail or skin

(W. 45 K.)

p’u*, A shop. Correctly written with $£

chin1 for the radical.
she1, tongue, is the radical, the 135th. A pic¬
ture of the tongue protruding from the
mouth. (W. 102 C.) (See No. 73.) It
is, however, really composed of she2
(See No. 40), cottage, and t fuJ as a pure
phonetic. # is aptitude yang* (an arrow
hitting a target) for founding a family,
manhood, and then, the name assumed at
manhood or given by a friend. (W. 109
D.)

ko1, Older brother.

a |sv.

A’ou8, mouth, is the radical, No. 30.

A’o3, To send forth a breathing 7* of approba^
tion from the mouth. Doubled it means
to sing. It is borrowed for brother.
When the lower stroke is curved the
other way, it is a cry, or difficult breath¬
ing. See No. 258. (W. 58 I.)

ti4, Younger brother.

kung1, bow, is the radical, (the 57th) according
to Kang Hsi’s arbitrary classification.
But see No. 86 for the primitive form and
etymology. (W. 87 E.)

chih\ A hand ^ holding a single bird f£, not a

pair as in M shuangl; hence the meaning
single, one by itself, a numerative of
53

ships, animals, birds, single individuals of

things in pairs or sets, as arm, eye, shoe,
etc. (W. 168 G.)
pi chui1 short-tailed birds, is the radical. No.
% 172. The seal forms show it to be a pic-
ture of a bird with a short tail, cf. M niao5,
R bird with a long tail. (W. 168 A.) (See
No. 41.)
155
tas, To strike, to beat; doing in general.
^ shot?, hand, here called the t'P shotr3, is the
radical, No. 64.
T, a nail (a picture) is that which the hand
T- strikes. Therefore the hand and the
nail together form the verb to strike (the
subject and the object of the verb). (W.
57 A.) Read ting it means to nail.
156
hsP, To wash. The radical is # snui8, water.
(See No. 79.) In order to wash you
must first have water ^K. (For hsien1
jit see No. 27.)
157 ^
S wang24, To forget. hsin\ heart, is the radi¬
cal, No. 61.
wang2 to enter A a hiding place L to hide ; to
perish, to run away, to cease. (W. 10 E.)
The mind jfr ceases to act Cl, that is, for¬
gets

yen3, Eye, a hole.

0 mu4, eye, is the radiqal, No. 109. (See No. 102.)
K, H, § ken> firra’ is a suggestive phonetic. It is the
138th R. meaning also, perverse, obstinate,
to stop. It is from 0 mu4, eye, and fc hua
 59

to turn, change suddenly (a man A invert¬

ed &) as the eye changes in anger; there-
f > fore anger, defiance, haughtily, etc. (W.
26 L.) It is in the eye that anger may
first be seen in another person, hence the
use of U. in the character for eye.
ching\ The iris of the eye, the pupil; some say
the eyeball.
|Ej mu4, is the radical, No. 109. (See No. 102.)
ch’ing1, The first of the five colors, the color of
4 nature, as the green of sprouting plants,
the blue of the sky, the azure of the ocean,
dark green, and black. (See No. 63.)
The black W part of the eye is the pupil
Bit or the iris.
t’iao2, A twig; a bill; a classifier of long,
slender things.
* mu4, wood, is the radical, No. 75.
Mnr jj|i yux to ford, is a man A crossing water (reduc¬
ed to^j ), and tapping with a stick Jc to
sound the depth. It was borrowed to
mean a relative pronoun, and equivalent
in wen li, of Jjlf so3, a place. In $§ the 7k
character may have been added because
the pole used in sounding was of wood,
and so the meaning of twig, slender, etc.,
came naturally by extension. (W. 12 C.)
A slender stick tik of wood A is used by a
man who fords tit the stream.
chieh\ A street, avenue ; place of markets,
ft. ^ hsing2, to go, is the radical. No. 144. It re¬
presents two footprints, one step with the
left ctiih4 and one with the right f
 cA’e4 (the reverse of ;f). ff hsing1 is "the
radical of ^characters relating to motion,
the phonetic being inserted in the middle.
(W. 63 C.)
^ kuei1, Lands, feudal appanages; from ± t’u3,
soil, doubled. By extension it is used of
the sceptres or batons given the nobles
when they were invested with their fief.
(W. 81 B.)

shuang\ A pair, a match; an equal; to go

with, to be matched.
^ chui1 birds, is the radical, No. 172. (See No.
154.) Two birds # held in one hand X
make a pair M. (W. 168 G.)

hsieh2, Shoes; also written H.

JJt To skin, to skin an officer, or degrade him
from office, leather. It represents the
skin of a sheep Y (contracted from
stretched between two bars H with two
hands @ at work on it to scrape off the
wool. Radical No. 177. (W. 105 A.)
ill kuei1 is the phonetic. (See No. 161.) Leather
# next to the land m. kuei\ is a proper
sign for shoes, H.

BALLER, LESSON VI.

IP, An act, particularly acts of worship, which

will bring happiness; ceremony, propriety,
good manners; offerings required by
usage. ^
shih*> is the radical, No. 113, written * in
composition. It means a revelation (aus¬
picious or unlucky) from heaven. The
 61

two horizontal lilies are the old form of Jb

shang*, high, superior; and the /b repre¬
/ ' sents sun, moon and stars, or signs in
heaven which reveal transcendent things
to men.
li* A vessel used in sacrificing. From S ton4
(see No. 105), a vessel, and U k’anz, a
receptacle above it, ornamented with two
sprays ft /eng1, symbol of plenty. (W.
97 B.)
Revelation 75 is needed in abundance H to
teach how to worship JiH.

sha1, To mow grass ; to cut, shear, slay, kill.

shu1 the right hand making a jerky motion, to
strike, a stick, kill, is the radical, No. 79.
(See No. 71.) (W. 22 D.)
sha1, to shear off the heads of grain, to kill.
i* Shears, representing the cutting blades.
yjr- ip; shu2, Millet, the glutinous kind with loose
’ *** drooping heads, the seal character being
a picture of it. (Also another writing is
a hand separating three grains, hence
glutinous millet, requiring effort to se¬
parate.) One dot is omitted in the modern
writing IS1. So we have for sha1 Jfc, to cut
off X the heads of the millet and for
the whole M sha\ the addition of the
radical gives the strong motion of strik¬
ing, intensifying the idea of to kill. (W.
39 B and 45 J.)

cheng*, Upright, correct, exact, proper, ortho¬

dox, etc.
62

chih3, is the radical, No. 77. (See Nos. 10 and

12.) To stop ih at the appointed limit —
without going astray is correct JE- (W.
112 A, and I.) ,
167
ch'un1, Spring, pleasant, wanton, lewd.
0 jih\ is the radical, No. 72. The seal writing
has been strangely modified by modems.
It represents the budding and growth of
plants SW under the influence of the sun B.
(W. 47 P.)
168
Asia4, Summer, variegated, large. The first
great dynasty.
sui1 to follow, is the radical, No. 35.
ychA A man, head. A man K who walks £
with his hands hanging down folded
0 as farmers do in summer M. when
the crops grow by themselves. In the
modern character M is contracted. (W.
160 D.)
169
ch'iu1, Autumn, harvest.
A°2> grain (growing) (a picture), is the radical,
No. 115.
iK, A huo\ fire (picture) is the 86th radical. There¬
fore autumn is the season when the
grain standing in the fields, is burned
iAc, i.e., whitened and ripe (W. 121 C.)
170 o.
>% , /fc\ tutig*, The last or winter season ; the end ; to
store up. ^
7 P!n& ice (picture, see No. 138) is the radical
No. 15.
yC ehung1 End, fixed. (To be distinguished from
 63

radicals 34 X chih9, 35 X sui1, 36 hsi4,

and 66 A p’u1.) It is a skein of thread
fastened at the end by a spindle or tie.
The frozen V end X of the year is the
winter season, An older form had sun
0 meaning the cessation of the action of
the sun; or it might mean the sun con¬
fined. (W. 17 F.)

chi4, Tender, the youngest of brothers, the end

of a series of months or a season ; the four
seasons.
fzu8, son, is the radical, No. 39.
ho2 is contracted from fi chih4, the most deli¬
cate ft among the children •?, i.e., the
last; then the last month of a season,
and the season itself (W. 94 A.)

/a4, To dry meat, the 12th month; winter sol¬

stice.
n,n jou4, meat (see No. 133) is the radical, No.
130.
II lieh4 Hairy, bristly, disorderly. It is a hairy
«< head gj, hsin1 and If, shu* rat, contract¬
ed into J&. It has the legs, head whiskers
and tail of a rodent. (W. 40 B, C.)

173 & % yeh4, Night.

^ hsi4 evening (see No. 14) is the radical, No. 36.
The seal form shows that it means what
is done by man A at evening that is,
to lie down on his side / , and sleep; then
by extension, night. The modem fonn is
a quaint invention of the scribes, a man A
under a cover at evening (W. 60 I.)
 t’ai2, To carry on a pole, to elevate.
^ shou®, hand, i&the radical, No. 64.
JU far, A mouth O exhaling a breath This is
an arbitrary contraction for the form
which is a high place iij with the topmost
point -x* changed to dh and 3e chih1 (under¬
neath in place of P), birds alighting there.
(See No. 88) ; to elevate. (W. 75 B.)

k*a?, To open, to begin ; to boil.

men2, two-leaved door is the radical, No. 169.
kung* Two hands folded, the 55th radical. The
character represents two hands -ft taking
away the bar — from the door, that is,
opening it. cf. R shuan1, bolt. (W. 115 C.)

shao*, Few ; shao*, young.

hsiao3, small, is the radical, No. 42.
/ p’ich1 A left stroke, to diminish. To diminish
/ that which is already small /b ; few,
less. (W. 18 M.)

chung1, A bell, a clock.

& chin1, metal, is the R. No. 167. (See No. 13.)
-0 t'ung1, A boy under 15 and unmarried, a
spinster. It was originally a slave boy,
like ig ctiieh1, a slave girl. It is from ^
hsin\ crime, and Sr chung1, grave. A grave
crime committed by parents caused the
children to be reduced to slavery. The
slaves were forced to remain unmarried,
and so the meaning spinster, bachelor,
virgin, and then concubine and catamite,
for they were used as such. A slave might
be beaten just as a bell. (W. 120 K.)
 65

tien9, A black spot, a point, to punctuate, to

light, as a lamp ; to count or check off, a
/ ' minute of time.
jfH, hei1, black, soot, is the radical, the 203rd. The
soot M which the fires leave around
the vent ^ where the smoke escapes. The
jfe is a contraction of yen2. (W. 40 D.)
j*j chart, To ask P a diviner |', to divine. It is
purely phonetic. (See No. 132.)

tung\ To move, excite, to begin.

fs li*, Strength, muscle. A picture of a muscle in
its sheath. It is the radical of the charac¬
ter, No. 19. (W. 53 A).
chung*, Heavy. (See No. 22). (W. 120 K.)
When force j] is exerted on heavy things
l§r, they move Wi¬

le’o*, To cut, to carve ; a quarter of an hour.

n ij tao1, the Rad., No. 18, a knife.
XU hat purely phonetic, an horary character, 9—
11 p.m. It is a picture of a pig, shiha
with a tail added. (W. 69 K.)
fen1, To divide, distinguish, a minute. Fen*,
duty, share.
Jf] tao1, knife, is the radical, the 18th.
it pa1, To divide.
A knife J} that divides A = to divide.

piao3, The outside, to make known, to mani¬

fest; a watch, indicator.
^ j1, clothes, is the R., the 145th.
■3* mao2, Skins, furs, hair. Clothes were originally
^ skins with the hair outside, therefore this
character means the outside of clothes, the
 manifestation of the person, therefore,
to manifest A watch manifests the
time. (W. 16 K.) The emperor dressed
his huntsmen in different kinds of skin
3? to indicate ^ their functions in the
chase.

chien1, A space, interval, division of a house.

PJ men2, door, is the R., No. 169. {SJ has the sun
H shining through the opening, therefore
the meaning, space, interval. See No. 5
and 12.

to1, Many, much, too much, reduplication.

5^, ^ hsi* evening, is the R., the 36th. Because easy
to write it was repeated for the meaning
many. Perhaps it means many, like the
evenings that follow one another without
ceasing. (W. 64 A, E.)

tsan28 I, we. To1 tsan when, sometimes

written ft&.
A jeii1, is the radical; p k’ou8 is the radical when
written B&.
^ tsan11, we, is an arbitrary abbreviation for
ts’ari* which is % tsan1 doubled, mean¬
ing a brooch or hairpin and Q yiieh added,
meaning to murmur, (W. 26 D.)

hou*, After, behind, to postpone ; posterity.

ch’ih* a step, to march, is the R., the 60th.
^ yao1 A fine thread. (See No. 8 and 24.)
To march while stretching a fine thread
& out behind. The A. chih8, to follow is
 6?

a radical redundancy as it also means to

go. (W. 90 A.)
187
ti*, The earth, the ground, a place.
4 *. t’a8, earth, is the R., the 32nd.
ieh3, Also, see No. 4.
188
pai4, To worship, pay respect to either man or
God.
shou3, hand, is the R., No. 64. The rest of the
character ^ is also shou3 ^ and hsia*, Y-
It was formerly written with the hsia4 T
under both hands ^ meaning both hands
hanging down, in the attitude of respect,
or worship. (W. 48 E.)
189
shangNoontide, midday.
0 jih4, sun, is the R., the 72nd.
[pjj ^ hsiangA, is a picture of a small north window
under the eaves of the house ; by exten¬
sion it means, direction, to face; to like,
to favor. (W. 36 E.)
When the sun 0 faces jjrj the south window
it is midday

wu3, 11 a.m. to 1 p.m., noon; 7th of the 12

stems.
shih2, ten is the R., the 24th.
Some say this is the representation of a
noon mark on the side or end of a house.
In combinations it has the sense of defi¬
nite, fixed, exact as in Up hsu3, to promise,
ft wn8 obstinate, etc.

?, Already, past, to cease, to decline.

68

g g chP, self, is the R., the 49th. The original

writing of this character £, g is now
found in four forms B U B It is a
very ancient symbol, to represent the
exhalations of the breath, the virtue that
springs from an object, its action, its use,
then, use until exhaustion, to end, to pass
away. cf. # Hf (W. 85 B.)
192
tso4, A raised seat, throne, numerative of
mountains, cities, houses.
JF* yen8 covering, shelter, shed, is the R., the 53rd.
tso4, To sit down, to rest, to place; to reign.
It is two men M seated, facing each other,
on the ground Jt* (See No. 66.)
The radical r indicates larger things, or
men sitting in a house, so a seat JU. (W.
27 D.)
193 .LA

m ch’eng5, A city, a city wall.

-f* £’u8, is the R., the 32nd.
tfr c^eD^> is made from a T a nail, a boy and
a battle axe fX wu4 in which ^ ko1 is the
radical. When a boy T is big enough to
wield a battle axe he is grown up or com¬
pleted, a man, i.e. ctieng1 ting\ $ T
The character means, completed, to be¬
come, to finish. When earth ± is built
into a city wall $ it has attained /£ to
its highest usefulness. (W. 71 M.)
194
i'engx, A fief, a territory ; to appoint to office
over a fief; to seal up, to blockade, to
stamp, an envelope.
ts’un\ inch, is the R., the 41st. (See No. 69.)
 69

rj| kuei1, is, according to the seal character, the

land ± and crops ^ under the rule
of a landlord, that is a fief. Such is the
Chinese explanation. Wieger considers it
erroneous. He thinks it a tree & on a
mound di in the center to indicate the feu¬
datory or imperial possession of the land.
**J“ added indicates rule. (W. 79 E.)
195
ft. If hsin\ Faith, sincerity, to believe in; a letter;
7>W arsenic.
A jeri1, is the radical. A man \ standing beside
his word H\ that is, faithful. Some an¬
cient forms are a man and mouth; also a
heart and a word ; that is words coming
from the heart, sincere. (W. 25 H.)

BALLER, LESSON VII.

196
tsai4. Repeated, a second time, also.
|“] chiung* a limit, is the radical according to the
dictionaries, the 13th. But etymologi¬
cally it is >
Tfj Hang2 a weighing instrument or scale in equili¬
brium and H erhA, two, added to indicate
a second weighing or repetition, twice,
etc. (W. 35 J.)

sui*, Year, harvest, age; Jupiter, the planet

that indicated whether an attack was to
be made or not.
chihz, stop, is the R. of the dictionaries, the
77th, but the combination M is from ^ pti4
a step, a planet, and
hsii1 which is a spear $ mi4 and its wound —.
The lower part of the pu* p is enclosed in
 the hsii*, at the bottom. Jupiter’s
period of twelve years was a cyclical
period used bjr the Chinese and called a
great year jz H£. , It was later adapted
to the twelve months and used commonly
for a year. (W. 71 P.)
pu'y A step. It is composed of jh to stop and
the same reversed underneath with the
opposite meaning, to start. A step is
the starting and stopping At of the
feet in walking. (W. 112 F.)

shu3, To count, shu4 a number.

p’n1 to tap, to govern, is the radical, the 66th,
referring perhaps to the habit of men to
check off with the finger as they count.
/on2 Troublesome, frequent, and so appropriate
in the character meaning to count off. It
is composed of ~k niF women chung1 en¬
closed in # mr, no, forbidden, prison, and
so has the meaning, idle, useless, trouble¬
some, repetitious, frequent. (W. 67 N.)
M shu4 meant originally to govern these
women prisoners g.

teng3, To compare, an order, series, class;

such, like ; to wait.
n chu2, bamboo, is the R., the 118th, see No. 7
and cf. $$ ti4 No. 86.
ssu*, Temple, the place where the rule -d* is con¬
stantly applied ± vjy and people are
classed. (See No^ 125.)

ts’u1, Coarse, rough, vulgar.

* mF, rice, is the R., the 119th. (See No. 47.)
 71

JL tsu&, moreover (the radical is—i) is a picture

of a stool fl chi3 with two rungs=to brace
the legs and standing on the ground—.
It was borrowed for the important con¬
junction, and, moreover. (W. 20 D.) See
No. 228 on 10. as a character showing
contrast.

As/4, Fine, small; soft; carefully.

ssu, or mi*a strong thread, is the R., the 120th.
(See No. 8.)
[H t'ietf, field, was originally written ill hsrn1 or
skull open above, meaning the fontanelles
of a child, tender ; so appropriate for, fine,
tender j$, like the silky & hair around the
fontanelles &.
202
sheng*, Wise, holy, sacred.
If erfi3, ear, is the R., the 128th, a picture. (W.
146 A.)
5r JS cA’eng*, To speak O k’ou3, while standing in
ones place of office t'ing3 (a man A at
his place on the ground ±) therefore
ch’eng3 means to lay before ones
superior, to notify.
Sg A sheng* jea2, or wise men, are those
who listen % to the n information of those
under them in office 3; and so become
wise. (W 81 H.) For see No. 22.
203
tsao4, To arrive at, to build, to create.
^ cAo4 or tsou3 cA/A4, to arrive at, is the R., the
162nd. From this meaning, to arrive at,
the meaning to accomplish, to build is
derived and the ^ kao* is purely phonetic.
72
kao4, To impeach, to indict; that is, to do with
the mouth P what the ox 41 does with
his horns. By extension it means to tell.
(W. 132 B.)
204 aa
huati2, Also, yet, still more, to give back.
?8
cAo4 to go is the R., the 162nd.
is
huari2 The eye 0, horizontal, and ^ yiian2}
trailing robes, that hinder ones walk, a
hesitating gait and timid look.
M, ^ yuan'1 is made up of 3Sc i1 a long robe and
Tjjf ^ ch’uan1 To attach, to trail, being a picture of
an ox yoked up and attached by a single
trace to a ring. (W. 91 E. H.)
205 Ife.
kuei*, Honorable, costly, dear.
pei4, cowries, precious things, is the R., the
154th. It is a picture of the cowrie shells
with feelers out. They were used for
money down to 300 B.C. and then brass
representations of them were used. (W.
161 A.)
A’m’4 a basket, is a picture. (W. Ill A, B.)
A basket & full of cowries H is a high
price, dear.
206
hsing\ A surname of a clan.
-k niiz, woman, is the R., the 38th and £ sheng\
born. Woman bom,—possibly this dates
to the time when “ mens’ mothers were
known but not their fathers ” and so the
woman gave the name to the clan or
family. (See No: 15.)
207
huang2, Yellow, the color of loess. 201st R.,
formed of
 73

[T] t'ien*, field, 102nd radical, (a picture of fur¬

rowed fields) and of an old form of kuang1
it light, (a man A carrying a torch A)-
^ huang1 is the yellow light it from the
fields B. (W. 171 A and 149 A.)
208
0,6 paP, White; in vain. Radical No. 106. The
seal character represents the sun just
appearing above the horizon and so
the white light at dawn. (W. 88 A.) (See
No. 6.)
209
laoB, Venerable, old, very.125th radical. A
man A whose hair ^ mao2 changes
hua4 to white. (See No. 20.) The ^ and
A are contracted arbitrarily by the
modern scribes. (W. 30 D, E.)
210
cAu8, Lord, master, owner. It is a picture of
a lamp and the flame rising above it. So
by extension a man who spreads i:ght, a
lord. The prince rises above oth». men
and is seen by all as the flame rises above
the lamp and shines out to all. (W. 4 B.
and 83 D.)
chip a dot is the R., the 3rd,
211
pp, Rags, unworthy, mean.
XX p'vP to tap is the R., the 66th.
pi Broken shreds of cloth.
The whole is a piece of cloth separated
or riddled /\ with holes /v by the action
of tapping (W. 35 F.)
212
natP, Male of the human species; a soil
then2, the land, is the R., the 102nd.
 -jh Su Ji*, Muscle, strength, a picture of a muscle and
its sheath. The 19th radical.
The man jg is the one who exerts his
strength in the field B3- (W. 53 C.)

chi4, To arrange, to narrate, disposition.

ssti1, silk is the R., the 120th, see No. 8.
p chP, self, the 49th radical, is a picture of the
threads of a weft above and of one thread
in the shuttle below ; so sorting out and
arranging threads ; borrowed for self.
& chi*, as a whole is to sort £, threads jfc.
(W. 84 A.j

, >5\, fa1, To shoot an arrow, to send forth, any

expansion or manifestation.
po* Separation ; trampling ; back to back. It
is two jt chih3 characters back to back.
It is the R., the 105th.
^ kungl, bow, is the 57th radical and the shu1,
to kill, was formerly written ^ shih3
arrow, so the character meant to separate
'A. the arrow ^ from the bow i.e. to
shoot. (W. 112 H.)

k'uai*, A piece, lump.

-J- t'u3, earth, is the R., the 32nd ; see No. 13.
db, kueP, devil, spirit of a dead man, the 194th
rad. The & represents the spirits head, the
)L is man and the is a tail or the swirl
where the demon vanishes. Purely
phonetic here. (W. 40 C.)
A person becomes a spirit after the
body has stiffened in death and when the
 75
earth ± becomes stiff and hard it breaks
up into clods or pieces
216
tt . wei14, Seat, throne, condition, dignity, a person.
A. jen2, man is the R., the 9th.
To establish, to stand. A picture of a man
standing firm on the ground.
The place, (office, dignity) where a man
A stands erect & ; the plaee assigned to
each official.
217
ti4, The Supreme Ruler, the sovereign.
|jj chin1, is the R., the 50th. It is doubled to re¬
present the skirts hanging from the girdle.
Cf. No. 143 ^f.
The ancient character represented a man
clad in many garments and designated by
— meaning _fc. above. The scribes added
two arms. Li* Ssuchanged the bottom into
]$C t'zu4, thorns, and then it was contract¬
ed into the modern form. (W. 120 H.)

BALLER, LESSON VIII.

chen1, True, truly, genuine ; rectitude superior
to the common ; perfect simplicity.
mu4, eye, is the radical of classification, No.
109, but the character is made up of the
following :—
chih2, straight, (see No. 99) rectitude;
hua* to change, a man tumbled heels over
head ;
wu4, a high platform or base.
In the combination the -f* shit.i2 at the top
of the character iff chih2 is replaced by the
t ha a4 and the top line of the % wu4 at
76
the bottom is combined with the lower
stroke {_ of the chih2 jg. The logic of
the combination is that moral rectitude
fit chih2 acquired by a change £ hua* and
raising % wu* of the moral nature is true,
genuine chen1. (W. 10 L.)

ting2, The top, very; the button on a man¬

darin’s hat.
ye/24, man, the head, is the radical, the 181st,
see No. 105.
T.fP ting1, A nail, (picture). It i9 of phonetic force.
But the button on a mandarin’s hat called
iHjgc ting2 tai\ looks like the head of a
Chinese nail and as though it were nailed
into the hat or head.
220
mai*, to sell, to betray, to vaunt.
pei*, cowrie, precious, is the radical, the 154th
as in g mai8, see No. 38.
it= cA’u1, The springing of plants, to put forth.
mai3, to buy. Therefore H mai\ to sell, is the
opposite of in that it consists in putting
out {i{ goods, and netting or obtaining
$J the cowrie money pei*. (W. 78 E
and 161 D.)
221
chia\ Home, family, a profession or class.
mien2 a roof, or house, is the rad., the 40th.
shih3 Pigs, the 152nd, radical.
The seal character of 100 B.C. shows that
it is a picture of a pig, the upper line for
the head, the left side showing the belly
and legs, the right side the back and tail.
 77

In the Oracle Bones this appears as a pig

ready for sacrifice in the home, where
ancestral offerings were made, (J. M
/ 1
Menzies). This explanation is not given in
the first edition of this book. An early
form shows three people under a roof,,
man, woman and child made a home.
(Chalfant XIX)
222
ts’o*, In disorder, wrong, mistaken ; to polish ;
a polishing stone, a file.
chin\ metal, is the radical, the 167th. (See No.
13.)
E3, “q hsi1 Old, ancient, formerly. Dried meats.
It is formed of dfc contracted from the seal
form ft representing strips of meat hung
up to dry and 0 jih4 sun. So the mean¬
ing is old, dried meat as compared with
fresh meat. (W. 17 J.) Old ^ metal
scrapped, makes a most disorderly place.
223 /H , .
hen3, Very.
^ ch’ih* a step, is the radical, the 60th. In the
other writing the radical is 4f or it
clriian3, dog (classical) the 94th radical,
is the form used in combinations.
JtB.fi ken4 is composed of g
mu4 eye and hua*, to
turn or change ; so H ken* is to turn or
change the eye g,
looking in anger, de¬
fiance ; stubborn, hard. (W. 26 B & L.)
It seems of phonetic force only in hen3.
In the second writing one might say “ a
dog's it defiance, or obstinacy in holding
on is very $1 extreme.
78

p'P, Skin, leather, bark, wrapping, the case

around goods or the tare ; the 107th R.
The seal form shows it to be a primitive
meaning to skin, representing the skin }
a hand 3) and a knife D. (W. 43 H.)
225
mm yung1, To hit the centre, to use, with, by. It
is the 101st radical. It is from the same
form as 4* chung1 which also meant to hit
the target and an — i showing the part of
the arrow that did not go through. By
extension the capacity of the archer, the
effect, the use, the means. (W. 109 B.)
226
kengx, To change, keng*, much.
p| yiieh, to speak, is the radical, the 73rd. This
is by convention in the dictionaries. It is
really formed of the following, according
to the Shuo1 Wen2:
Ruin ping3, Fire, calamity, bright. A fire in a house
with flames rising above the roof.
^ pV To tap, to interfere with the hand holding
a stick.
Therefore Jg keng1, change, is an interven¬
tion of the hand collecting the smoulder¬
ing embers on the hearth to make a
bright fire. (W. 41 A.)
227
shen2, Spirits, animal spirits, gods.
^ ^ shih*, to reveal, is the R., the 113th, used in
characters denoting spiritual things. It
is formed of HI erh = _h shting* heaven
and /J' = the sun, moon and stars, or
signs in the heavens which reveal trans¬
cendental things to men.
 79

jj fcp shen1, To extend, to stretch, to explain. The

seal writing shows two hands stretching
, a rope and so the idea of stretching, ex¬
pansion. Later the rope was straightened
by the scribes and was explained as a
man standing and with both hands W
girding his body | with a sash. The form
th is simply an easier way of writing fcp.
(W. 50 C.) The combination #is proba¬
bly phonetic but the idea of god may have
some connection with an increased or
extended $ spiritual revelation tj>. Chal-
fant, however, finds early forms represent¬
ing forked lighting. He thinks, probably
rightly, that these became the sign for
deity from superstitious dread of light¬
ning Ig tien4. It gradually took the form
^ and >T was added to distinguish the
meaning of God and yu3 rain, was
added to show the meaning lightning fg.
(Plates VII and XXVI.)

-•&.PI k'en3, To be flexible, pliant, willing, to assent.

M jou4, the flesh as opposed to the skeleton
ft kua3,is the R.,the 130th. (See No. 133.)
In early writings of If k'en3 the ft Ana8,
skeleton, was at the top of the character.
The upper part of ft kua3 early dropped
out and the scribes replaced the remain¬
der n, with jh chih3 which is nonsense.
The flesh is soft and pliable as compared
to the bones Tl (changed to ik) and hence
the derived meanings to yield ones self, to
be compliant, to assent. (W. 65 A, C.)
 In ffi t’sa1, we have another example of
two objects of opposite characteristics
joined to represent the adjective applying
to one of them i.e. $1 t’su1 coarse is ^ fine
grains and a large object, a heavy two
runged stool U.. (No. 200.)

chia®, False, to borrow, chia4 leave of absence.

^ jen2, is the radical, the 9th.
chia8, False, to borrow. The seal writing
shows two H skins that is, double skin,
or a borrowed skin over ones true skin,
disguise, false. “ Wolf in sheep’s clothing .”
(W. 43 I.) The character for shrimp
hsia1, uses this suggestive phonetic. It
sheds one skin gradually while growing
another.

huiS To meet, to collect, a procession, a

society, able.
p| yueh1 to speak, is the radical, the 73rd. (See
No. 9.)
4

chP To collect, (see No. 18.)

tseng1 To add, still mo e. The words 0
yueh1, that people say when they meet A
chi2 at the fire under the smoke hole 03
ch’uang1, in greeting or A in parting, i.e.
adding more and more. The A pa1 at the
top is modified in the combination with
A chP to form # hui*. (W. 14 D and W.
40 D.)
\

shih8, To cause ; to order, to send, a messenger.

A jen2 is the rad., the 9th, with ^ li4 an officer.
 81

*.* shih3 A hand grasping a stylus, see No.

96 ; a historian, scholar.
, IP, Those of the scholars who were set over
—* (= _h) the administration.
The meanings of fsfc shih3 come from the
uniting of A man and the superior
official of government. (W. 43 M.)

ch'iang2, Strong, firm, determined, good , read

ch'iang'y to force, to rob.
hung1, a bow, is the radical, the 57th, a picture.
As the character ch'iang* was originally
written M, it meant a bow that shoots
over two fields and their boundaries jg
chiang1, that is, a strong bow, and by
extension, good, firm, determined. Being
hard to write the fg chiang1 was replaced
by an insect that bends like a bow and
springs into the air when it falls on its
back. A changed to p was the head of
the insect.
ch’ung2 an insect, in the seal writing represents
a snake, probably the cobra, called huP,
now written /Si. It is the 142nd radical
and used for || ch’ung*, which anciently
meant animals with legs, but now means
the smaller animals, as frogs, worms,
snails, inseets. (W. 110 B.)

p’en2, A tub, bowl, basin.

AIM min3, a dish, is the R., the 108th, a picture.
fen1, to divide, is the phonetic. (See No. 181.)

ftp, Husband, man, workman.

ta*y great, (*n composition, man) is the R., the
 37th. It has a stroke added in ^ fa1, to
represent the pin in the hair used only
when, grown to manhood at the age of
twenty, the boy took a cap, and received
an honorable name as well as used a hair¬
pin. (W. 60 J.)

ping3, A cake, pastry.

^ shih2, to eat, food ; ssu4 to feed, to rear, is the
R., the 184th, of characters relating to
food. (See No. 75.)
^ ^ ping\ The seal represents two men marching
^ side by side, or on a level ff ch’ien1, there¬
fore the meaning even, together, harmony.
ch’ien1 is two poised scales, or shields side by
side, even, level. Ping1 is phonetic, but
cooked grains % united A form cakes a
logical combination. (W. 115 B.)

ho2, A box or dish, with a cover.

11)] min3, dish, is the R., the 108th.
/v. ho2, Shut A the mouth O; join, unite. (See No.
a 103.) So ^ ho2 is a covered dish,—join &
the dish JDL and its cover.

Aai*, A child. ^ tzu9, is the R. (See No. 1.)

^ Jfa. hai* is pure phonetic. It is the 12th of the
twelve stems ; 10th of the horary cycle i.e.
9 to 11 p.m. The 10th month. It is said
to be a picture of the pig with tail added.
(W. 69 K.)
\
p'an2, A plate, tray.
JH min3, dish is the R., the 108th.
Wl pan\ To make a boat move along by a
 83

regular action & of the oars ; so the de¬

rived meanings of regular way, manner,
, equally.
chou1, A boat, (picture showing the high bow
the deck, compartments, rudder and an
oar.) It is the 137th R. of characters re-
lating to ships. (W. 66 A.)
3^ shu1 is the right hand X making a jerky
motion 1L or a rhythmical motion, then,
to kill, to strike. The 79th R. (See No.
71.) (W. 22 A. D.)

pan*, A board, flattened bamboo.

* mu4, wood, is the R., the 75th.
|jjf /an8, To turn over, inversion. (See No. 75.)
A suggestive phonetic, as a board is flat
like a hand.

teng*, A long bench, a stool.

mu4, wood, is the R., the 75th. (See No. 22.)
^ teng*, A stool or bench. This is composed of
J[u chi1, a stool, the 16th radical (picture) and
teng1, to ascend, advance, at once. This is
from the radical A; po4 (See No. 214) to
ascend step by step, and a pedestal j& tou*.
(See No. 105.) (VV. 112 H.)

tan4, But, only. A is the radical, the 9th.

s. tan*, The morning, dawn, daylight. It repre¬
sents the sun H just above the horizon —.
In {& it is of phonetic force only. It is one
of the few indicative characters.

c/tan4, A classifier of lamps ; a shallow cup.

I!!!, min3, a dish, is the R., the 108th.
84

chien* To destroy, narrow, small. (See No.

13). A small ^ dish JflL is a shallow cup
Thus it is a suggestive phonetic.
243
tengx, A lamp. X huo3, fire, is the R., the 86th.
(See No. 169.)
^ teng*, To ascend, to elevate. (See No. 214 and
240.) This is a suggestive phonetic for to
elevate fire X is a good designation
for a lamp

mao*, A hat, or head covering, to rush on,

rash.
rfl chin\ a napkin, is the R., the 50th.
B.A mao*, a hat, is the original writing for ipg. It
is a n mao8 (to cover f~J chiung3 some¬
thing —) and — indicating the head within.
The modern writers change 0 to 'ar and
H so that it cannot be distinguished from
0 yiieh without reference to the seal
character.
B, /I) mao*, to rush on, heedless, to act with the eye
0 covered 0, is a natural meaning for the
character. H M &. (W. 34 J.)

BALLER, LESSON IX.

245
changA, An account, a bill.
pci4, cowrie, precious, is the R., the 154th.
(See No. 38.)
ft chang3, to grow, senior, is a phonetic and also
the 168th R. (See No. 131.)
A long or growing ^ list of precious
things £ is a gg chang\ The character
is a modern invention to take the place of
 85

Wl» the radical jl being more appropriate

to the meaning than tfj.

chao3, To seek, to find, to pay a balance.

^ shou3, hand is the R., the 64th.
ko1, A spear or halberd. (See No. 2 3$, from
which the character must be distin¬
guished.)
The seeking in mind by the inventors of
this character must have been a search for
an enemy, with spear ^ in hand It is
often used now for seeking a man in the
spirit of revenge.
247
suan4, To reckon, calculate, to plan.
M* chu2, bamboo, is the radical, No. 118, In the
Han dynasty bamboo slips, one by six
0 inches were used for calculating. 271 slips
made a set. The abacus, suan* p'an*,
seems to have come from Greece about
1450 A.D. The Encyclopedia Sinica, how¬
ever regards it as indigenous to China. It
probably came into general use during the
Ming dynasty. In our first edition it was
erroneously treated as of ancient Chinese
origin. In using the abacus one employs
both eyes 0, mu* and hands, kung%
It-,/55! kung3, the 55th Rad. In combination kung9 is
modified in several ways as -*J* in tsun1;
in ping1', ^ in & elm* and jY in Uk

chieh4, To borrow, to lend. A jeI? is the R.,

9th.
^ hsP Old, purely phonetic here, (See No. 222.)
249
fung1, Brass. $£ chin1 is the R., No. 167. (See
No. 13.)
86

fgl t'ung8, With, together, like. Phonetic. It is J=J

mao3 a cover %
fitted to the P mouth of a
vase, thus meaning agreement, union, to¬
gether etc. (W. 34 I.)

250
chiaos, An animal’s horn, a projecting corner, a
pod; a dime, a quarter. It is the 148th
radical. It is a picture of a striated horn
and is also said to be a combination of
strong fj li* and flesh jou*. (W. 142 B.)

251
huati4, To change about with the hand, remove,
to exchange. The R. is $ t*i2 shou3, the
64th.
&& huati4 To be on the watch for, to examine. It
is from two hands ft (contracted to A)
and a contraction of H ch'iung2, which is
a man A standing at the door of a cave A
hsiieh2, peering out 0, with a stick in his
hand that is, to watch, or examine.
Thus H means passing an object from
hand f6 to hand ^ while examining it
to avoid deception in the exchange. It is
now written with another hand added as
a radical £&, the hand of the other man.
(W. 37 F.)

252
pua, To repair, to mend; to patch, to substitute.
fl, clothes, is the R., the 145th. (See No. 51.)
fu3 To begin, great, just now, an honorific
& name. It is capacity for founding and
governing a family, manhood, the age at
which an honorary name was given to a
man. Phonetic combination. (W. 109 D.)
 87

253 AjA ^ yang2, The ocean, foreign, European, vast.

*■* 7 JK shut*, water, is the radical, the 85th.
yang?, A sheep, a goat. It is a picture of a
ram seen from above with horns, legs and
tail. The tail is often left off in combina¬
tions to make room. Phonetic combina¬
tion. (W. 103 A.)

mao2, Hair, fur, plumage, (Picture). The 82nd

radical. (W. 100 A.)

255 fHj t&p

>Tl itl p’/ao4, A signal, a ticket, a warrant, a bank¬
note. For a mnemonic take “ a bankbill
M is a Western Iff revelation ”, This is
untrue however.
shihA, a revelation, is the R., the 113. (See No.
164.) Etymologically however the ti< is a
modification of the seal writing of X fire,
*1», Chalfant PI. X shows a beautiful ori¬
gin of the character in a fire X with smoke
rising from it and manipulated by four
hands This was an ancient method of
signalling. The seal writing of 100 A.D.
is explained as being an ignis fatuus J&
X kuci3 huo3, below is the fire Jli, on top,
the head and hands tel and the line in the
middle — is the waist. Compare W No.
16. (W. 50 O.)

shih*, Market place, a market,

rfj chin1, a handkerchief, is the R., the 50th (See
No. 143), a mistake etymologically. The
seal shows that it is a broad place H
chiung3 outside the town, overgrown with
 grass Ik. chih1, where people go to get 7
what they want* (W. 34 D.)
["3 chiung3, an open space a limit, is the 13th R.
^ ^ chP, To reach to, to get. (W. 19 D.)

tP, Base, foundation, low, to settle ; bottom.

yen3 a shed, hut, is the R., the 53rd. (See No.
132.)
§. tP, The rest of the character is a development
6^ of K shih\ (See No. 8), a floating plant
that branches on the surface of the water
and sends a root down to the bottom.
A line is added below to represent the bot¬
tom of the water. So the meaning to sink,
the bottom. (W. 114 A.B.)
tP with the r* yen8 radical means the
foundation, base, of a house etc. J&.

hao4, To cry out, an order, a signal; a mark,

a label; honorary name.
}£^ Au1 tiger, is the R., the 141st. This is a pic¬
ture representing the stripes on the tiger’s
skin. (W. 135 A.)
ch’iao3 Difficult breathing, sobbing. It repre¬
sents the breath ^ fighting against an
obstacle — (cf. wf No. 152.) The Shuo Wen
^ says. A
“3" Aao4 is the mouth P sending forth cries inter¬
rupted by sobs y. (W. 58 A, B.) ^P^-^
JhMffiSA.
Jfcfll Au8, a tiger, is An1 with feet like a man’s JL
;en2, added below. This character enters
into several compounds meaning cries,
clamor. Thus both sides of the 5£ hao*
mean outcry.
 89

ti&g*, An ingot of silver.

chin\ metal, is the R., the 167th. (See No. 13.)
tingf> To fix, to settle, certain, quiet. It is
order jE cheng4 (See No. 12) in the house
r±* mien2 (see No. 1) i.e. peace, quiet. (W.
112 I.) An ingot of silver §£ is therefore
a fixed or certain ^ lump of metal

/a3, Rule, law, model; means.

Y,jY> shuP, water, is the R., the 85th. (See No. 79.)
c/Tu4, To go, to remove. (See No. 67.)
The far fetched mnemonic has been sug¬
gested “ the law, or a model fe fa3 is
intended to raise the moral level, as water
2K, by removing £ vices.”
Historically the ancient character for
fa3 was written & which means A chi2
to adapt IE cheng* rightly, that is law,
rule.

ma8, Weights for money or goods, wharf.

shih2, stone, is the R., the 112th. (See No. 42.)
ma*, horse, is the phonetic. The seal writing
shows the head turned backwards, the
mane, legs and tail. It is the 187th R.
(W. 137 A.)

chiai*, The value of a thing, the price.

'f,A jen2, man is the R., the 9th.
chia3, kuz A shopman, as distinguished from a
travelling merchant shang1; from J3. pei*
precious things under a canopy j®j hsia*.
hsia* A cover, a canopy. The 146th R., often
confused with ® hsf West. (W. 41 C.)
90

263 yuan*, Head, principal, origin. It is made up

of H, or _fc, and A jen2 man. That which
is upon _t man A* the head. A is the R*>
the 10th.
261
pao3, A gem, a coin, precious, valuable.
^ mien2, house, is the R., the 40th. (See No. 1.)
fou3 Earthenware vessels in general, the pic¬
ture of a covered vessel; the 121st R. (W.
130 C.)
pao8, is to have EE yu4, gems or jade, fjf fou3
earthenware and ^ pef money in the /**
house. These were the ancient valuables.
(W. 130 D.)
265
yin2, Silver. & chin1 is the R., the 167th (See
No. 13.)
ken4 anger, hard, firm, is the phonetic. (See
No. 223.) Silver is hard metal &.
266
tiao*, To suspend, a string of 1000 cash.
P k}ou3, mouth, is the R., the 30th.
When written ^ it means, to condole, and
^ hung bow is the R., the 57th. It is a
man A with a bow over his shoulder, com¬
ing to help keep the birds and beasts away
from the corpse which was exposed to rot.
Hence the meaning of to condole. The
Mongols still expose, but do not keep
away the beasts and birds. The meaning
to suspend comes from the fact that the
bow was slung, over the shoulder. (W.
28 H.)

fu4, To aid ; a duplicate, an alternate, a pair.

 91

tao1, knife, is the R., the 18th. (See No. 37.)

fd, abundance, happiness is from ® kaox (con¬
tracted) and IH fieri1 fields; the heaping
up ^ of the products of the fields IH, i.e.
abundance, prosperity §|.
A knife 71 cuts off from ones abundant
stores & to help gij. (W. 75 D.)

p'itig2, Free expansion on all sides ; plane, even,

level; tranquil.
kart, arms, crime, is the R., the 51st; (See No.
110.) This is arbitrary classification, for
the seal writing shows it to be ^ yu3, the
breath had1 overcoming the obstacle —
and spreading out freely above —. In
the symbol J\ pd to divide, adds to the
idea of free expansion on both sides. (W.
58 F.)

BALLER, LESSON X.

haP, The sea, an arm of the ocean; lake, an

expanse, as a desert, y', shuP is the R.,
the 85th. (See No. 79.)
meP, Each, every. These are borrowed mean¬
ings, as originally it meant swarming,
being a combination of or crte* a
sprout, and if mu3 mother.
772l,3> Mother. This is from # nu3 female, with
the breasts made prominent. (W. 67 O, P.)

# td, tort, All, the whole ; the capital.

gS f* city, is the R., the 163rd, (See No. 11).
jjjjj che3, Phrase, speech, document; sign of end of
a paragraph; after other parts of speech
it changes them into nouns. This charac-
92
ter was invented to represent a connec¬
tion between members of a text: above
are two crossed branches to represent the
preceding members; in the middle a
tzu4, from, represents the point already-
arrived at, the starting point for what
follows; and the “1 at the reader’s right is
the continuation of the discourse. (W. 159
A, B.)

ho1, To drink ; to shout.

13 k' ouz, mouth, is the R., the 30th.
^3 ij* ho3 A stranger or beggar {5} kai* who speaks,
El yiieh1, to ask the way or beg; to ask,
how ? where? why? (W. 73 A.)
kai1, To beg, a beggar. A wanderer who
seeks to enter A ju4 a refuge L.. The
formerly stood at the side, now it covers
the &. (W. 10 G.) cf. No. 145 ^ cha4.

272
ko\ Each, every, all, various; apart.
^ ehihz to follow, is the phonetic, it is to reach
up to a man who walks ?, to come
up behind him. P is the R.
ko4 means to go on ones way ? without
heeding the calls p or advice of others
following, V, therefore, apart, separate,
each. (W. 31 B.)

273 *4
afy To love, delight in. >5 hsin1 is the R., the
61st. It is formed of ^ ai4 to love and
sui1 to go slowly.
P chi' The upper part of the character is
ft strangely contracted from chi4, to
 93

breathe in, to swallow. The meaning

comes from reversing
ctiien4, to breathe out, to be lacking, as both
are made up of ^ and JL yen2, the ^ being
a reverse of ft ch’ien4. Both are synonyms
of H ch'i4 breath. % is the 71st R. Joined
with >5 it forms
ai4. To swallow down in one’s heart >6 ; to
take into one’s heart, to love, kindness.
The radical % sui1 to walk is added to
form ai4, primitively meaning the same
as the radical & but now used exclusively
in the meaning to love. It suggests that
love is an outgoing virtue. (W. 99 E, F.)

pan4, To exert ones strength ; to manage, to

arrange.
li4, strength, is the R., the 19th, (See No. 212.)
jftl to hsin1, Bitter, punishment, criminal, the 160th
R. It is made up of =? kan1 (see No. 110.)
to offend, with two V dots indicating a
repeated offence, and shang4 a su¬
perior ; that is an offence against a
superior; a crime brings punishment,
bitterness.
pien4, Two criminals facing and mutually ac¬
cusing one another ; passionate recrimina¬
tion. (W. 102 H.)
When the li4 strength of the official is
interposed between the two parties accus¬
ing each other in court we have manage¬
ment, to manage, to arrange, ; or each
criminal in such a recrimination exerts all
his strength jj.
 chart, To stand ; a stage in a journey, 60 to
90 IP.
jf li\ to stand is the R., the 117th. (See No. 216).
It is a picture of a man A standing on the
ground—. (W. 60 H.)
ptj chan1, to consult P the diviner h> is the pho¬
netic, chart to seize, invade. (See No-
132.)

k'ao*, To be close to; to mutually oppose,

lean on ; to trust. It is from ^ kao* to
tell, inform and 0 1fei1 not. That is to in¬
form of non-agreement, i.e. to oppose,
and so to be opposite to. and then to
be next to, to rely on. For & see
No. 203.
fei1, A primitive with two sides opposite to
each other and so the abstract notion of
opposition, negation, wrong, not. It
gives % its meaning of opposition and the
idea of nearness is related to that of op¬
position, (note that the idea of opposition
is in & also). It is the 175th R. (W.
170 A.)

ts’a/2, Adverb of time, now, present, just now.

yfl ssu, mi*, is the R., the 120th, commonly called
1an* c^Ja°3 SSB1.

ch'art rodents, or gnawing animals, crafty.

It is the pictures of two rodents ; the one
above is H ch’ao4 an animal like the hare
but larger, (a useless character); the one
below is
t'rt, A hare. It is a picture of the hare squat¬
ting, with tail perked up. (W. 106 C.)
 95
278 n?, Interrogative and emphatic particle, twit¬
tering sound.
, « D A’oa3, mouth, is the R., the 30th.
jrjj ni2, To stop; a nun; ni4 near, familiar. Phone¬
tic force only.
It is formed of two men in contact, one
seated P shih1, the 44th R. and one
reversed, t p?. (W. 26 F.)

/a4, A road, a way ; a kind.

tsa2, The foot, a picture of a foot at rest, the
circle above indicating rest as opposed to
motion ; enough, full, pure. It is the R.,
the 157th. (W. 112 B) cf. jh ch'itf see
No. 10. Motion is expressed by <§.
& ko4t Each. (See No. 272.)
The way J& /a4, is that through which each
one # ko4 goes J5L tsu1. (W. 31 B.)

280
knang\ Light, bright; honor, naked, smooth ;
the presence of a distinguished person.
Anciently it was twenty *tt* fires >X. The
modern form is a man JL bearing aloft a
fire or torch jX. (W. 24 J.) JL is the R., 10th.

281
tsfai*, Vegetables, herbs, greens, food, viands.
«■»/* Jjlljl ts’ao8, is the R., the 140th.
5R. $ ts'a?, To pick flowers or fruits; variegated ;
to gather objects. The upper part is i*
chaoz, the contracted modem form of
the right hand prone or reaching down,
the paws, claws. Normally at the top of
a character because of its meaning and
here it is above a tree meaning to pick
96

££ fruit from a tree It is often written

with a hand at the side With grass
radical it means the small vegetables,
(W. 49 B.)
282
ch’P, To rise, to begin ; after a verb an auxi¬
liary denoting the beginning and continu¬
ance of the action.
^ tsou3, to walk, is the R., the 156th. (See No.
146.)
Q chP, self, is the phonetic. (See No. 191.)

283
yang*, A pattern, kind, model, manner.
* mu4, wood, is the R., the 75th, as patterns
are often made of wood. The character
has the same meaning and pronunciation
without the R.
yang*, A rising or unceasing flow of water
(same as yang2 with 3$ yang1 added
as phonetic) ; uniformity, model, pattern,
tediousness.
7k,« yang3, is unceasing flow of water in veins in
the earth, duration, perpetuity. It is a
variation of shuP, adding foam and
ripples. (W. 125 D.)
¥ yang2, Sheep, (see No. 253). (W. 103 A.)

yiP, Fish, the 195th R., relating to names and

parts of fish. It is a picture of head,
body, fins, scales and tail. The four dots
below stand not only for fire X but also
for tail, and feet in H niaos bird, JSf ma3
horse, ^ kao1 lamb & weP monkey. (W.
142 A.)
 97

286 £3. man*, Steamed bread or dumplings.

shih2, food, to eat, to feed, is the R., the
184th. (See No. 75). (W. 26 M.)
man* Wide, long, to draw out. The Chinese
pull dough. (See No. 130.) (W. 34? J.)

286 m lung*, To grasp, to collect; to push out, a

comb.
*7 shot?, hand is the R., the 64th.
HH, Mil- lun£?> A dragon, imperial, glorious, the 212th
R„ contracted from a picture of the
animal. The modem form has on the
^f| right a contraction of fei1, to fly, or the
wings (picture of a crane flying W. 11 A.)
and on the left at the bottom is ^ = & jou*
meat or body, and above it SC /i4, said
to be a contraction of j§r t’ungslave boy,
as phonetic. This is probably an artificial
interpretation of a conventional modifica¬
tion of the picture. (W. 140 A.) ftg is a
hand |on a dragon ft, able to grasp or
gather together legs, wings, tail and all.
Phonetic.

tsuntf, To collect and tie up in a bundle; to

sum up to unite; to comprise, to manage;
before a negative it makes a strong as¬
sertion.
mi4, called lan4 chiact ssu\ is the radical,
the 120th.
ts'ung1 To feel alarm ; excited, restless. When
ones mind & is excited or restless, one
looks anxiously through the windows ®
ch'uanjf, and makes a forecast of pro-
98

bable outcome; now written 'ftf. (W.

40 D.) Phonetic combination.
288
wf su4, To tell, accuse. Uye/i2, words, is the R.,
the 149 th.
ch’ih4 To attack ; a modern abbreviation of
Jto attack a man i4, in his liouse T*
yen3; to expel, to scold.
i4 is said by the Shuo Wen to be T Jtan1, an
offence doubled, though not completely,
and so having the idea of repeated offence
as in ^ ;en3, See No. 139. (W. 102 D.)
sip su4 is to attack with words If-.

ting1, A nail; ting*, to nail.

chin\ metal, is the R., the 167th, being the
material of which the nail is made. (See
No. 13.)
T.'P ting\ A nail with large head, (W. 57 A.)
290 4
£’u2, To go on foot; foot soldier ; disciple, ap¬
prentice ; companion ; a low fellow ; only,
futile ; to banish.
4 ch’ih* to walk, called fg shuang aL li1 \ jeh,
is the R. in the dictionaries, the 60th ; but
originally it was If, cho4, the character
being written Later the jh chih was
moved over under the ± £’us (See No. 10.)
To go H, on the ground JL, is the etymo¬
logy of (W. 112 E.)

shen1, The body, tl\e trunk ; ones self; person¬

al ; pregnant; the whole life ; the 158th
R., used in characters relating to the body.
The seal form is a human figure with
 99

large abdomen and one leg forward to

support the body more firmly, or preserve
the equilibrium.
. /

Attention is called to other fonns of the

character A fen2. \ jen2, erect; pi3, to
turn; / }• 9 on the top of compounds;
JL /\ the legs, at the bottom of com¬
pounds ; f~ jen2, leaning or bent over ; £
H hua* heels over head, to change ; P J*
shih1, a seated man, a corpse; £ pao1,
a man leaning forward to enfold an object
in his apron ; A ta* man with arms ; A A
& forms of men moving on with hind¬
rances of three forms. (W. Lessons 25-32
54, 60, 61.)

t’i3, The body, the whole person ; a class or

body of officers etc. ; the substance;
respectable; a style of writing Chinese
characters, of which there are six.
ku*, bones is the R., the 188th ; a framework.
It is made up of skeleton ft kua3 and flesh
H = $l jou4 opposed to each other, (See if
k’en3 No. 228.) (W. 118 A.)
j||. ^ A43 A vessel used in sacrificing. (See No. 164.)
(W.V7B.)

tsen. How ? Why ? hsin1 is the R. For ^

cha* see No. 145 and 271.
The surprised ^ heart asks how? why? 25.
 VOCABULARY II OF BALLER’S LESSONS.

yen2, Salt.
/u8 Radical No. 197. Rock salt; salt land ;
ruds. Composed of West and v
four grains of salt, as rock salt comes from
the West. (See No. 26).
chien1, T o watch, prison. The fg; is a suggestive
phonetic (W. 82 F.)—as the Chou Dynasty
(1122 to 255 B.C.) appointed officers to
have control of salt and salt lands. The
chien1 is IS ch'erf (see No. 120) and reclin¬
ing man a*, which means to recline or bend
over, and jfiLfii hsiieh, a vessel of blood.
One explanation of this phonetic is as fol¬
lows :—in ancient times an oath was
taken by having the contracting parties
draw blood and an official watch it flow
together in a vessel. When the radical for
salt land is added the idea is conveyed
that salt is watched over by those who
have been appointed to this work.

chu\ Pig.
ch‘uans Radical No. 94, a dog.
This is a modern character and is made
up of the above radical and % che8, (See
No. 270) which is here a simple phonetic.

W, Dog.
3 ,7v ch'iian3 Radical No. 94 a dog.
fa] chu4, or kou\ sentence, (See No. 80) is a sug¬
gestive phonetic, as the dog guards by
his bark. This is a modern character.
 101

kua*, To suspend; anxious; classifier of bridles.

^ ^ shou3, Radical No. 64 ; hand.
■ ih kua4, The ^ is a combination of its kueP,
sceptre, (See No. 161) and h pu8, (See No.
14) and it means to divine ; or a diagram.
(W. 56 E.) 4s is said to represent an hex¬
agram and thus it has no connection with
the jade sceptre, but as the writing of the
two are identical, it is classed under scep¬
tre vf;. If we suppose that the charts or
diagrams of the diviners were hung up
then we may regard this as a suggestive
phonetic.

ch’ang‘, To sing.
P A‘ou3, Radical No. 30, mouth.
^ ch'ang1, The phonetic; splendid,' (W. 73 A).
The upper part is the sun and the lower
is to speak, emanation. The idea is that
the sun sends forth rays as the mouth
puts forth words,—a suggestive phonetic.
P|| A more refined quality of voice than
ordinary conversation.

tsang\ Dirty.
*ii“ An3, Radical No. 188, a bone. (See No. 292).

am tsang*, to bury, is a suggestive phone¬

tic. What could be more loathsome than
a body after mortification is well estab¬
lished and the bones appearing? It is
composed of ts’ao8 grass, (See No. 40)
and ~Fc sztP, to die, which is composed of

MAtl T/, taP, calamity and A jen2, man; the

calamity which comes to all men-—
 102

death. (W. 26 H.) The present writing

of man in this part of the phonetic is un¬
fortunate as it has but slight resemblance
to Beneath is # a contraction of (pip
grass. The dead were tied up in a reed
mat !$. The — is the rope.
300
ch’i2, To ride horseback ; to sit astride.
/na,3 Radical No.. 187, ahorse. (See No. 261).
ch}r, The phonetic; (See No. 54) wonderful,
strange. This phonetic is also used in the
character for chair. A chair is used for
sitting on; in riding a horse, one sits
on the horse as he would sit on a
chair, and in the character for riding
radical ^cr wood, is replaced by the horse
radical. There are not a few characters
that have a similarity of action that are
formed as the above by a change of
radical.
301
ch’iung2, Poor, thoroughly exhausted.
hsiieh4, Radical No. 116, a cave. (See No. 97).
Caves are used by those who are reduced
to the last extremity.
Si,The phonetic, (W. 90 L) ; to bend the
body forward and cause the vertebrae
to stand out. The character was formerly
written with g /u3 on the right, but
laing1, a bow has been substituted for
lu9 the back bone. This is not a bad com¬
bination to stand for poor.
302
S.fl kyuti£, Empty, leisure ; the firmament.
% hsiiehu, Radical No. 116, a cave (See No. 97).
 103

T hung1, The phonetic is X labor, (See No. 89).

This character may have been originally
used for caves made by man; a place made
empty by X labor. (W. 82 A.)

hsien4, Thread.
mi*, Radical No. 120 but commonly called lan*
chiao3 ssu1; silk. (See No. 8).
The phonetic is ^ chien1 small, narrow.
(See No. 13). Thread is made of minute
strands of silk.

ssu3, To die; death ; firm ; closed.

tai3, Radical No. 78, bones fallen apart;
death ; bad, perverse.
jen2, Man inverted.
This is an old character which came into
existence before radicals and phonetics
were adopted, hence when we say that
the radical is tai3 there is no discre¬
pancy, but when we say that the phone¬
tic is A /en2 it is a misnomer as A has
no phonetic value. (W. 26 H). (See No.
299). Death JE is the calamity J that
comes to man £.

chen1, A needle, a pin, a probe.

^ chin1, Radical No. 167, gold, metal. (See No.
13).
chen1, is the correct writing of this character,
but chen1 is shorter and is very often
used.
hsien2, The phonetic of the correct writing is
to bite, to wound with the mouth. #
hsii1 is to wound—with a weapon ; with
104

the addition of d k’ou9 to the above, the

character means to wound by biting. (W.
71 P.) The needle takes up as it were,
little mouthfulls of cloth as if biting its
way along. There is no etymology for the
short way of writing this character.
306
man9, Full; complete ; pride; Manchu people.
M v' shuia, Radical No. 85, water. (See No. 79).
man9 The phonetic, is ^ equality, equilibrium,
(W. 35. M.) The scale pans M are even;
when the water is even with the brim of
the vessel, then it is full. (See No. 35).
The upper part of this phonetic is, by
some, supposed to be horns, to indicate
equality, as the two horns are apt to be
similar. By others it is supposed to be a
beam which indicates when the two scale
pans are level.
307
m chi1, Chicken.

m chui Radical 172, a short tailed bird.

No. 21).
(See

^ n/ao8, Radical 196, a long tailed bird.

The phonetic is M hsi1, a woman con¬
demned to spinning in official prisons.
The top is chao8, hand ; the center of
the character is & silk, contracted, and
the lower part is ± ta\ an adult. Some
think that it was not Jz ta* originally but
/h the lower part of and the /b was
changed to * ta4. m The hand working at
spinning, a spinster. These women were
condemned to this work, and consequently
got no benefit from their labor. The
 great bulk of the eggs that chickens lay
goes to their owners, thus the appropri¬
ateness of this phonetic. (W. 92, C.)

t’ieA8, Iron.
chili1, Radical 167, gold or metal. (See No. 13).
The phonetic ; to scrape, to pick.
This comes from M ch'eng1, to speak 13
while standing at one’s post ; with the
addition of ko1 it is read tieh4, to notify
m a menacing manner ; with the addition
of X ta* man, now reduced to -f* shih2 it
means to scrape or pick or stab. The
metal with which one can scrape or stab
best is iron, hence the appropriateness of
the phonetic. (W. 81. H).

chi’inx, near, a relative; self.

J§, chien\ Radical 147 ; to see ; perceive.
chen\ The phonetic, now reduced to $ ; hazel.
Hazel shrubs grow in clumps, this charac¬
ter is used for those persons which one
sees constantly:—those in the same
family, relatives. (W. 102 H.).

kuan\ An official, public,

p., mien2 Radical 40, a roof. (See No. 1).
This is an old character which does not
conform to rules governing phonetics. The
lower part of the character is j| tui\ ter¬
races, ramparts, city. The h* hall of the
gj city. It originally referred to the resi¬
dence of the official who governed a .city.
Now it stands for the officer. (W. 86. C.)
The top stroke is left off from the |}.
106

311 tai4, To wear, as hat or spectacles, to bear.

3% ko1, Radical 62, a spear. (See No. 2).
This is an 'old character and the radical
and phonetic are not separable. The

* foundation of the character is ts'aP,

to do damage with a spear. The -f* shih2
is a contraction of 4r t’saP, property or
materials ; (W. 71. H.), to plunder with
the use of weapons.

A.* i4, To disagree, different. (W. 47. R.). The B9

fieri2 is a modification of Eg fu4, devil’s
head, but here used for the earnest money
which is placed on a table X wn4, hands -H*,
R are represented as pushing the money
away, it is not acceptable. The character
m is explained thus. After a place is plun¬
dered the marauders divide the sooils
according to the number of men, the
articles are placed in order, one by one
on the several piles ; thus the idea of plac¬
ing on, as the hat is placed on the head is
conveyed.

312
Peng2, To sew ; feng4, a crack, seam.
mi4, Radical 120, silk. (See No. 8).
^ Peng2, The phonetic, means to pick ones way (to
walk slowly) X through Peng1, brush¬
wood, to meet. (W. 97. A.). The cho4
is a redundancy, as X sui1 conveys the idea
of walking. When silk is added to this
phonetic the idea is that this silk thread,
threads its way through the cloth as a
man picks his way through brushwood.
 J07
313 fit, Rich, abundant, wealth.
fa mien2 Radical 40, a roof. (See No. 1).
/u2, This phonetic seems to be a contraction
of jgj kao1 on EH t’icn2. The meaning is
that the products of the ffi t’/en2, field are
piled high, ® kao1, under cover *** mien:;
abundance. (W. 75. D). (See 267.)

ken\ A root, origin, a base, as of a wall.

* muS Radical 75, wood.
Aen4 Phonetic ; perverse. (See 223).
Wood added to this phonetic is the char¬
acter for root. The root is firmly fixed in
the ground.
315 $2S>
, Hly ching*, Clean, pure; to cleanse ; only.
shui3, Radical 85, water.
The phonetic is ^ cheng\ to pull in differ¬
ent directions, to contend. The upper
part is /It chao8 the lower part is a f* hand
holding a stick, the two hands are pulling
the stick in opposite directions. (W. 49.
D.). In order to cleanse an article, it
must go through what appears to be an
active struggle with water.

316 'M ho', A river.

y shui3, Radical 85, water.
*pf A’o,3 The phonetic. (See 54). The idea of
^ this phonetic is that the breath leaves
the mouth without meeting obstruc¬
tion. With the addition of the idea is
that the current is unobstructed, a river
flows, but the water of a pond is hemmed
in on all sides.
 /ibr4, Father.
This character is the 88th radical.
The seal character is a hand holding a
rod, the hand which wields authority.
The modem writing failed in bringing out
this idea (W. 43 G.)

chi a*, Frame, staging, a rack, to support.

* ma4, Radical 75, wood.

M cilia*, Phonetic ; to add to. To add M muscle

to persuasion p, violence. Muscle is
fj\ % P k’ous, indicates a command.
(W. 53. D.). When wood is added to
this phonetic it indicates that this is a
frame on which articles can be added.

Bang, A classifier of carriages,—a pair of

wheels, the important part of a cart.
$ ch'e\ Radical 159, a cart, a barrow.
^ Hang*, The phonetic, two, (See No. 35.).
This is an appropriate phonetic as the
two wheels of a cart should be a pair,
equal in size. With the addition of the
cart radical the numerative of carts is
completed.

lii2, A donkey.
ma8, Radical 187, a horse. (See No. 261).
Ju2 The phonetic; a hound. This phonetic
might have been selected as a donkey
is small and not very different in size
from a large hound. This phonetic also
means a vessel or pan. It is from /k
Ati1 and & tzi? a vase. This is now made
like B9 t’/en2, a field, but it has nothing in
 109

common with it. M minz, added later,

is a redundancy. (W. 135. D.) and
(W. 150 A).

ch'engz, To ride, to mount, to drive.

p'ieh1, Radical 4, a stroke to the left.
This is a character which does not divide
into radical and phonetic. It is a pic¬
torial representation of a war chariot in
the seal writing (W. 31. E.) fa-fa ch'uatP
represents men sitting back to back. The
chariot has an awning over the men. A
good symbol for riding or mounting.

chiao\ A sedan, chair.

chV, Radical 159, a cart, a barrow.
^ ch'iao2, Phonetic; somethng ihigh, as a tree,
*** the top of which bends forwards. fW.
75. B.). It is composed of
^ and ® kao1. Yao1 ^ is a man bending
his head forward getting ready to jump.
(W. 61 B.). H ch’iao2 is the phonetic in
bridge, ^ and as a sedan chair when
carried looks like a moving bridge, this
may be the reason for using this phonetic
in sedan chair.

BALLER, IiESSON XI.

” it, m pp, To compare.

This character is radical No. 81.
Two men standing together as if compar¬
ing heights. (W. 27. I.).

“ & ft chP, To reach to, to come up to.

 X yu\ Radical 29, the right hand.
The part of this character which is not
the radical is A yen2, man. When the
radical is added it indicates that a hand
has caught up with the man and has laid
hold of him. (W. 19. D.). This charac¬
ter has no connection with 75 naPy but.

;n2, Like, as.

nii3, Radical 38, a woman.
P A’oh3, mouth, is the phonetic. (See No. 10.).
(W. 67. D). To speak P A’ou3, like a
woman that is, appropriately to the
circumstances.

tsuP, A bird’s bill, the mouth.

P A’oh3, Radical 30, the mouth.
tsuP The phonetic is tsuP, egret of a heron.
(W. 142 B.). jlfc this $ hom, with the
radical p A’ou3 is a bill, or mouth.

p’ao\ To soak, a blister.

y' shuP, Radical 85, water.
^ (t») pao\ The phonetic; to wrap up; primitive
meaning :—gestation. With water added
to this we have, water wrapped up, a
blister (W. 54. B.).

pap. To place, to put, to spread out.

^ sAoh3, Radical 64, the hand.
§|£ pa4, Phonetic, an officer; flg mug*, able and J$J |
wang3, an officer taken in the net of the:
law ; to discharge. With the addition off
hand, which usually indicates that the:
character is used as a verb, the idea oh
 in

placing articles in order is conveyed, for in

securing the disinissal of an officer one
/ ' must set forth the evidence ; here the hand
is setting articles in their proper position.
For m See No. 357.

yiieh4, to exceed.
tsous, Radical 156, to walk.
yueh* The phonetic ; a lance ^ ko1 with a
hook >. (W. 71. L.). J% yiieh is a
halberd with an additional hook thus
something extra is inferred. With the
addition of the above radical it forms the
character for exceed.

ho2, Harmony ; with.

D k'ouz, Radical 30, the mouth.
^ ho2, Phonetic ; grain and mouth are adapted
one to the other, hence the meaning of
harmony.

tsui*, Sin, crime.

^.IWI wang3, Radical 122, a net.
Hb /e/1, Phonetic, not right. With the addition of
i $1 wang2 the idea is conveyed that trans¬
gression 0 fei1, is caught in the net of
the law and it is called sin. This charac¬
ter was formerly written ifi tsui*, (W. 102.
H.). A malicious scribe substituted the
character J§£ huang* for this character and
the Emperor Ch’in-shih-huang forthwith
changed the writing of tsui4 by Imperial
decree to its present form and tabooed the
former writing.
112

332 pei*, To increase, fold, times. Original mean-

■” ing was to rebel.
KA jeri*, Radical 9, a man.
t’ou* Phonetic, to cut a speaker short by
interrrupting him in his speech. (W. 133.
A). The older writing is ^ pa1 above
p A’ou8, mouth and a little stroke on top
chuA, which is said to represent expression
of contempt. The present meaning of the
character fg seems to have been given it
without etymological reason.
t'; I"-

cho1, or chad1, Right, to just hit, after a verb

the sign of the success of the action.
^ yangJ, Radical 123, sheep.
This is a modem character and it is
written in several ways. ^ The phonetic
which can best be explained is
fill chez, This symbol was invented to represent the
clauses of a sentence which were being con¬
nected, the g tzu* is the central part and
on either side are branches or arms which
take hold of the clauses and bring them
together. (W. 159 B.)

334
hsiang*, Like, resembling, an image of a man.
Ki jeh2, Radical 9, man.
^ ^ hsiang*, Phonetic, elephant. This is a primi¬
tive, representing the animal. On top is
the trunk, thrii are the tusks; the body
legs and tail make up the rest of the char¬
acter. (W. 69. L.). It is difficult to ex-
 113

plain why this symbol should have been

taken for an image.

, ' kai*, To cover, a cover; to build.

"H*. ts'ao*, Radical, No. 140, grass.
ho* Phonetic; a dish filled and covered ; why
not ? With the addition of -*** the char¬
acter is used for the roof or any cover.
The ts'ao5, indicates that where this
character was coined, houses were
thatched. (W. 38. G.)
336
chu4, To dwell, to stop.
, )\. yen2, Radical No. 9, a man.
’ifc ^ chu*, Phonetic, a lamp with the flame rising.
(W. 83. D.). By extension, a man who
sheds forth light. (See No. 210). With
the addition of the radical, the character
stands for, to dwell, as if the inference
was:—those who can enlighten others
are those who have a permanent abode.

wo1, A room, a house.

shih1, Radical No. 44, a corpse, is the usual
definition of this rad., but a person lying
or sitting down is a better explanation.
chih*, Phonetic, to arrive at. This is an old
character and what is called phonetic has
no phonetic use. The represents a bird
just alighting on the earth ; thus a room
is a place where a person can come and
recline. (W. 32 A, G.). (See No. 88.)
338
0L4k A szu4, Resembling*
Jen2, Radical No. 9, a man.
& ? Phonetic. This is a very ancient character
and is supposed to represent the breath
leaving thd mouth without obstruction
as from asthma or other impediment.
(See No. 121) (W. 85 F). With the ad¬
dition of A the idea is conveyed that the
man has the same lung capacity as the
normal individual.

IP, Reason, principle.

E6 yiPt Radical No. 96, a gem. (See No. 124).
tp IP, Phonetic, the smallest country village. It
is composed of ffl t’/en2 and ± t’tP, tillable
land. (W. 149 D.). This is the 166th
radical, (cf. No. 821). With the addition
of the 3k the idea is conveyed that a gem
must be cut according to fixed rules just
as a field has to be divided into furrows
in order that it may be of greatest use.

pu*t Cloth, cotton cloth.

^ chirpy Radical No. 50, a napkin. (See No. 143).
& fu\ Phonetic, father. This phonetic is not re¬
cognizable in the modern writing, but it is
distinct in the seal writing. (W. 35 C.).
is probably purely phonetic, but some
think that it implies order. In weav¬
ing one must proceed according to a
fixed order. The material used by the
ancients was a kind of linen or flax. C6t-
ton is a modern development. Fu* is
the 88th radical. (See No. 317).

fang1) A house.
hiP, Radical No. 63, a door, a window (No. 5).
 115

fang1, Phonetic, a square. This is a sugges¬

tive phonetic as most houses, or rooms
are nearly square. A thing which is
^ • •
square and has doors and windows is a
house. For fang1 see No. 147 (W. 117
A.) ; it is the 70th radical.
342 m
__ hsieh*, Thanks, to thank.
« yen2, Radical No. 149, word. (See No. 10).
It. ft* she4, Phonetic, to throw out; to shoot, as an
arrow, against someone f%. See the
oldest form. Combined with the rad., ft",
the idea is to throw out words of thanks.
(W. 131. D).

343
kans, To drive, to hurry, to strive for.
^ tsou3, Radical No. 156, to walk. (See No. 146).
!=i han4, Phonetic, droughtli, rainless, dry. This
is composed of dr kan1, (supposed to be a
pestle, thus by extension to grind, to
offend), and 0 jih4; with the addition of 0
jih4, the fierce effects of the sun are set
forth. (W. 102 A). When the radical He
is added, the idea of driving or hurrying is
conveyed. The sun is the signal which
sets the Orient to work.

tsan4, To commend, to praise.

"ff yen2, Radical No. 149, word. (See No. 10).
m tsan4, Phonetic. (W. 79 B.). From jft shen1,
** to advance in order to make a statement
and K pei4, money ; to come forward with
a present, to aid. When the above radicai
is added the idea of commending is given.
116
345 meP, Beautiful, excellent.
^ yang2, Radical, No. 123, a sheep. (See 253).
ta*, Phonetic, large, but originally it meant a
man, (W. 103 A). A man who has the
disposition of a sheep, mild and gentle.

shih1, A song or hymn.

yen8, Radical No. 149, a word. (See No. 10).
ssu4, Phonetic, a court or temple. (W. 79 B.).
The place where the law -vj* is promulgated,
continually (See No. 125). The
upper part is Hi chih1, a small plant issu¬
ing from the ground, conveying the idea
of development or progress ; something
which is continual. With the addition of
the radical § it stands for prolonged
words, a song. The words from the
throne should be as music in the ears of
the people.

BALLER, LESSON XII.

nan8, South.
-p shih2, Radical No. 24, ten. (See No. 47).
This character cannot be broken up into
a radical and a phonetic as it is an old
symbol for south or the place of ^ jen\
luxuriant vegetation. The fj are the
boundaries of a place or field and the
vegetation forces its way over them by
constant growth += f. (W. 79 G).

918 At M peP, North.

t pi'\ Radical No. 21, a spoon ; inverted man.
 117

This is another character which cannot be

reduced to a radical and phonetic. (W.
27 G.). It represents two men stand¬
/ '
ing back to back in the seal writing ; com¬
pare M ts’ung2 to follow. The custom of
the Chinese is to face the south, therefore
the back is toward the north.

chih2, Straight.
@ mu4, Radical No. 109, the eye. (See No. 102).
-p sbih2, Phonetic, ten. (W. 10 K.). What ten
eyes declare to be without deviation L
must be straight. (See No. 99).
350
mi wang\ To go towards, towards.
^ ch’ih4 Radical No. 60, to step with left foot.
S. jfcl wanSs Phonetic, luxuriant vegetation which
springs from the earth in tufts here and
there; rambling, (W. 79 D.). With the
addition of the radical it means to stray
or roam about.
This phonetic has nothing in common
with i chvt a lord or with 31 wang2 a
prince. In its modern writing it is confus¬
ing as it is not always written the same
way. 3££ k'uang2, a mad dog comes from
this phonetic, but the top dot is left off.
This is a suggestive phonetic in as a mad
dog wanders about aimlessly. The idea
of aimless is suggested as these tufts of,
vegetation spring up without regard to
order.

351
JP, To leave, to separate; from, distant from.
118
chui1 Radical No. 172, a short-tailed bird.
(No. 21).
A.* IP, Phonetic, a yak or elk. (W. 23 E). This
phonetic plus the above radical was for¬
merly used for the Chinese oriole, a very
beautiful yellow bird now called M
huang2 IP. According to Kuei Shih Shuo
Wen, when this bird was heard or seen in
the spring, it was the summons for the
unmarried daughters to leave the parental
roof for the home of their future hus¬
bands. Thus the idea of “ to leave ” at¬
tached itself to the character, and another
character was adopted for the bird.

352
ch’a1, To differ ; a discrepancy.
T kung4, Radical No. 48, work. This is doing
violence to the construction of the charac¬
ter to say that X kung1 is the rad., as the
X is only a part of tso8, left hand. (No
89).
§j3, a(a ch’uP, Phonetic, to hang down, (W. 13 E.).
(See No. 387).
This character has undergone many
changes. The oldest form is fa (W. 46
C.). The right and left hand are not
working in unison, one is directed upward
and the other downward. The idea of
the present writing is that the left hand is
hanging down, not doing its part, thus
there is a discrepancy.
\
353
ch’uarP, A boat.
fa
^ chou\ Radical No. 137, a boat. (See No. 108).
 119

■-p* yen4, Phonetic, the ravines in the mountains

through which the torrents flow. (W. 18
E.). Tuan Shih Shuo Wen gives a better
explanation. He says that the phonetic is
Va yenu, a coast; thus we would have this,
character taking the place of our English
word, coaster, as the Chinese did not
build boats for crossing the oceans, a
coaster was their largest vessel. Some
have tried to prove that this character
indicates that the Chinese knew about
Noah’s ark as it is made up of a boat and
eight persons. A Pa1 p A’ou3. This is
only useful to aid in remembering how to
write the character, as it is of modern
construction, not much over 2000 years
ago—long after the deluge.

354 ft. chiang*, A large river.

V shu?, Radical No. 85, water. (See No. 79).
kung1, Phonetic, labour. This phonetic may
have originally been kung1 tribute. The
Yang Tzu Chiang was the river which
bore the tribute from the nine chou, AW
(nine provinces) to the Emperor. For¬
merly official documents were carved on
tortoise shell and the material apparently
was limited in quantity, so that occa¬
sionally characters were abbreviated on
account of lack of space. An abbre¬
viation of a character in an offioial docu¬
ment was a precedent for all time and some
characters have thus been changed so that
 it is difficult to find an explanation for
their present construction.

chuangl, To pack, to fill, to pretend.

& i1, Radical No. 145, clothes. (See No. 51).

at chuang, Phonetic, a stout man. The idea of

stout is obtained from ch’iang2. (See
No. 84). The -± shih4 is man. (See No.
69). (W. 127 B.)
As this character was early used for an
officer and as officers wore their robes of
office, there are many characters which
have the above phonetic whose meaning
has to do with appearance. Thus when
the radical for clothing is added, the idea
is to pretend to be what one is not, or to
fill full.

yuan*, Distant.
cho4, Radical No. 162, to go. (See No. 10).
yuan2 Phonetic, a long robe. (See No. 51).
(W. 16 L.). There is evidence that this
character has been changed from the ori¬
ginal writing and the present writing is
not explained. If one remembers when
going on a long journey long clothes are
worn it may assist in recalling the make
up of the character.

neng1, Able.
/ou4, Radical No. 130, meat. (See No. 133).
This character refuses to be broken up
into radical and phonetic; it formerly
meant the “ large brown bear,” and be-
 cause of his great strength he was con¬
sidered extremely able. This indicates that
a slang word has been incorporated into
the language as the correct expression for
able. (W. 27 J.). The character is ex¬
plained thus; two g paws, ft the bod3%
and JU the head.

chin*, Near, in time or place.

c/jo4 Radical No. 162, to go (See No. 10).
Jt./c chin1, Phonetic, ax, battle ax; catty. A picture
of the axhead. It was used for a weight
of 16 ounces or catty. (W. 128 A).
The character seems to suggest the proper
way for a warrior to advance, (to go to
battle), with his battle ax in his hand, i.e
near. Both near $£ and jig far have this R.

Ian2, To revolve ; a wheel.

if* cA’e1, Radical No. 159; a cart, a barrow.
(No. 136).
lan2 Phonetic, a bundle A of documents in pro¬
per order 133. (W. 14 G.) With the addi¬
tion of the above radical the idea of order is
retained as a wheel must have the spokes
arranged properly. The ancient docu¬
ments were engraved on bamboo slips and
tied together, as shown in the seal writing,
consequently the phonetic is suggestive.

IP, Plums; baggage.

* mu*, Radical No. 75, wood. (See No. 22).
y. tzvP, Phonetic, son. Kang Hsi’s dictionary
affirms that, owing to the plum being very
prolific, it was represented bv woods np
122

son ; the character son is here represent¬

ing the fruit on the tree. When travelling
ones baggage should stick to him as un¬
ripe fruit clings to the tree. Pupils are
sometimes referred to as peaches and
plums,—they are unripe fruit receiving
their development from the teacher.
toil’

ku*, To hire, to engage.

AT jen2, Radical No. 9 ; man.
ku*, Phonetic, to hire. This character is written
in two ways, with and without the radi¬
cal for man and it has the same meaning.
The upper part of the phonetic is ^ ha*
the 63 rad., a door, a family, a farmer.
The lower part is -fg chui1; a short tailed
bird, the 172nd*radical. A logical inter¬
pretation of the combination of these two
radicals would be, the farmer’s bird. In
ancient times there were nine kinds of
birds called M ku*. The arrival of each of
these M kti*, on their migratory expedi¬
tions was regarded as the sign for com¬
mencing certain lines of husbandry. Thus
when the quail was seen in early summer
it set the farmers to harvesting their
wheat; when wild geese appeared in the
fall, the crops must be gathered in.
Thus the character means to set a person
to work. Shuo Wen. (cf. W. 129 A.).
362
ching1, Classic books ; to pass through ; al-
. ready.
^ mi*, Radical No. 120, silk.
ching1 Phonetic, the watercourses «< under the
 123

ground —. (W. 12. H.) These water¬

courses are of first importance in the
mind of the geomancer, hence this phone¬
tic enters into the composition of many
characters. (See No. 136). With the
addition of the silk radical it stood for
the warp, the long threads in a piece of
cloth. These threads were very import¬
ant in Chinese civilization. In ching*
the neck, because the courses of the veins
were visible, this phonetic was used.

shun4, Favorable, prosperous.

Hi yeh*, Radical No. 181 ; head ; leaf of a book.
(See No. 105).
ch 'uanl, Phonetic, a large river formed by the
junction of several others. Perhaps the
idea of this combination is :—when affairs
flow in a current which is in accordance
with ones head or wishes, JJ, it is then
favourable. (W. 12 E).

k’o*, A visitor, a traveler.

mien2 Radical No. 40 a roof. (See No. 1).
^ ko2’3’4, Phonetic, each, every, all. (W. 31 B).
A place where all can have a roof over
their heads. Such an individual is called
a % k'o'. (See No. 272).

kua1, To blow.
feng, Radical No. 182 ; the wind. Insects
are born under the influence of wind or
vapor % (W. 21 B).
she*, Phonetic, the tongue. (See No. 73).
This is a modern character and is not
124
found in tlie Shuo Wen. The combination
would suggest that the character was
coined for a blustering wind which licked
up the dust as if by a tongue.
366
shou1, To receive, to gather together.
&,3l pV Radical No.66; to tap, to rap. (See No. 17).
H chiu1 Phonetic, tendrils. This is a primitive
which was formerly used alone, but in the
rearranging of characters a radical had to
be written with it, as the primitive is not
one of the radicals. The clinging of ten¬
drils is a very suggestive symbol for the
above meaning. (W. 64 F.).
367
shih3, to pick up ; ten.
«|* f ^ shou3, Radical No. 64, the hand.
ho3, Phonetic, with. (See No. 103). The
phonetic seems to have no phonetic value
in this character, but it indicates that
things are picked up when the hand and
article come together.

BALLER, LESSON XIII.

chancy A measure of ten feet.
i1, Radical No. 1, one.
This is an old character and it was com¬
posed of the right hand *)Xyu\ holding
shih2, ten, (a ten foot pole).
369
tien*, Lightning, electricity.
m yii3, Radical No. 173, rain. (See No. 61).
shen1, Phonetic, Chalfant says that this was a
representation of lightning which even-
 125

tually became the sign for “ deity.” The

combination of the radical for rain and
the symbol for lightning is not an incon¬
sistent sign for electricity. (See No. 227).

/tin4, To discuss ; an essay.

a>nit

yetP, Radical No. 149, a word. (See No. 10).

lutP, Phonetic, documents assembled in order.
(See No* 359). With the addition of the
above radical the idea is conveyed of
setting statements in order so that the
thought is made lucid. (W. 14 G).

t’i4, For, instead of.

yiieh*, Radical No. 73, to speak. The original
idea of this radical was to depict a word
issuing from the mouth. (See No. 9).
The phonetic of this character has no
phonetic value. It was originally two
IP characters side by side, but it was
afterwards changed to two 3c ftp charac¬
ters, and the lower part was g tztt, If thus
the idea was that the first man jfc li4 could
not do something, but the second li4 did it
just as if the first man had done it him¬
self g. Both St and 3c mean man. (W.
60 L.).

p’a4, To fear ; lest.

i|* hsitf, Radical No. 61, heart. (See No. 18).
>*1 paP, Phonetic, white. White heart—no cour-
age. Fright causes one to turn pale.
(See No. 6).

liang1, To measure.
126

Jg IP, Radical No. 166, a Chinese mile.* (See No.

82).
The phonetic of this character was &
Hang1, but it is so modified in the present
writing that it is of little aid to refer to
it. The etymology of the character is
difficult to trace and the Chinese have in¬
vented an etymology which after once
hearing it is difficult to forget :—the dis¬
tance to the sun 0 has been measured ^
and it was found to be one IP above the
Earth. 0 sun — one jg. IP.
374
icon4, Enough, fully.
kimg\ Radical No. 57, a bow. (See No. 55).
^ cfcueti1, 7cV, Phonetic, shell, husk. It is pro¬
bable that the idea was to strike & shu1
something hollow k’e1. When bow is
added to this phonetic the idea of enough
is said to be suggested because an archer,
in shooting, draws the bow to the full.
He makes a large vacant space between
the bow and the string. (W. 34 I).

376 cAb'A8, a foot, a span.

shih1, Radical No. 44, a corpse, a person in the
reclining posture, an adult.
vi P, Phonetic, germination; here it indicates the
opening out of the hand in the act of mak¬
ing a span. The p shih1 is said to be the
male, adult hand. It is probable that this
character has been contracted and thus
the part which indicated the hand has
been deleted. In the JSJ Chou dynasty the
 127

unit of length measured about twenty cen¬

timeters. If one remembers this it will
help to understand measurements in the
Classics. (W. 32 F.).

pao4, To announce; to recompense ; a news¬

paper.
itl tyuz, Radical No. 32, earth.
:5j| ^ nieh4, a criminal, a man who has committed
crime #,jen3. cf. No. 274 (W. 102 G., D.).
It is unfortunate that the scribes have
caused the left part of the ^ character
to be identical with
hsing\ fortunate, lucky, as it has a very
different meaning.
[it, /u2 The right part of the character shows a
hand holding a seal, and about to stamp
the order for punishment. (W. 55 C.)
The idea of to announce ^ is obtained
owing to an official trying a criminal case
# and publishing his decision S,.

chu2, an office, a shop.

shih\ Radical No. 44, a corpse. This is another
character which cannot be divided up
into radical and phonetic as the base of
the character is K ch'ih®, the expanded
hand, a span and p k’ou3, the mouth. The
explanation given is that in fixing up a
shop one must not only use the hand but
the mouth must also be used to inquire
the best mode of procedure. There is
another explanation of the character
which may be easier to remember. The
 ch’ih3 ^ is a foot, (a square foot) and the
P k'ou8 is one of the positions on a chess
board. A chess board a foot square is
large enough and the squares are places
for stopping or resting. (W. 32 F.).

tu2, Happiness, prosperity.

^ shili*, Radical No. 113; to reveal. (See No. 227).
/u4 Phonetic, abundance. (W. 76 D.). The
most satisfactory explanation of this
phonetic is that it is a contraction of
JhioShigh and H fieri2, a field, the products
of the field piled high is a good symbol lor
abundance. With the addition of the
radical the idea is that a superhuman in¬
fluence has decreed abundance, hence the
meaning happiness, (cf. No. 267).

hsiang\ To receive, to enjoy.

fou2, Radical No. 8, above.
This character does not divide up into
radical and phonetic. The ancient writ¬
ing was two jti characters, one upright
and the other inverted, they were con¬
tracted to cfr. Here is another illustra¬
tion of the reversing the meaning of a
character by inverting it. The upper
part is written in the ordinary way
and means superior; the lower part
is inverted and means inferior. The &
in the seal form is the gift which is being
handed up to the superior by the inferior.
(W. 75 D.).

cheng*, To rule ; government.

 129

p'u* Radical No. 66, to strike or tap. The

seal character is a right hand holding a
rod. (See No. 17).
IE chengA, Phonetic, right, exact. A government
Sfc should act p'u* in an orderly and ex¬
act jE manner. (See No. 12). (W. 112 I).

t’iehl, To paste.
pe/\ Radical No. 154, precious. (See No. 38).
chan\ Phonetic, to usurp, to seize, to divine.
-*0

An old definition of the character $£ is

“ to leave in pledge.” An article left in
pledge is marked by pasting a written
statement upon it. It is possible that
the meaning which is now prevalent
originated in this way. The above
phonetic also means to divine, but the
meaning to usurp seems to be more
logical in this combination. (W. 56 B).

mo*, Ink.
+|0Sg(

t’t?, Radical No. 32, earth.

he?, Phonetic, black. The seal writing of this
character is a vent for smoke and the
lower part is two fires, one above the
other, indicating a succession of fires.
Around the vent lampblack accumulates,
hence a very appropriate symbol for black.
It is the 203rd radical Mixing lamp¬
black with earth is probably the way
ink was first made. (W. 40 D).

an*, Dark.
m*|n

jih*, Radical No. 72, sun.

yin*. Phonetic, sound. This is the 180th, radi-
130

cal. (See No. 39). There are several

characters which have this radical as their
phonetic and have a meaning of dark or
obscure; it may be that this meaning has
been attached to this phonetic owing to
sound being invisible. When the sun is
invisible it is dark. (W. 73 E).

en1, Grace, to show favor.

hsin', Radical No. 61, heart.
© HI Phonetic, because. (W. 60 B). The ori¬
ginal meaning of this phonetic was a
man confined in a cell. One cannot but
feel sorry for a prisoner thus confined.
If this feeling of sorrow leads one to
liberate him, that is grace and it is repre¬
sented by placing heart, jfr hsin1 under 0
yin1,

hai\ Kind, grace.

hsin1, Radical No. 61, heart,
jjf ctiuati1 Phonetic. This is supposed to repre¬
sent an ox with a trace attached to a
bar behind the horns; and at the end of
the trace there is a hook for attaching
objects which are to be drawn. By ex¬
tension, when ones heart is drawn into
his work he is kind, he allows his better
feelings to enter into his actions. (W.
91 E, G).
386 i»t. |U||
~ iien8, A dictionary, records.
pa1, Radical No. 12, eight.
ch'aP, Phonetic, books. This is an old char¬
acter and has dropped out of use. It, in
 131

the seal writing, represents bamboo

books placed in order. The lower part of
the character was a table % mi4, and not
A pa1, but when radicals were sought to
classify all characters, the legs of the table
were taken for A pa1. (W. 156 C).
ytr, Post house.
A Radical No. 163, a city. (See No. 11).
ch'uP, Phonetic, a bough loaded with leaves
and drooping flowers (W. 13 E). Chalfant
says that this phonetic is a spray of wis¬
taria. As these flowers hang pendent,
this symbol has been adopted for charac¬
ters which convey the idea of hang¬
ing or suspension. Thus ®| shui* to sleep,
implies that the eyelids are drooping and
are suspended over the eyes. A post house
was on the frontier. This was the only
place where the Government maintained
postal communications, the Emperor espe¬
cially desiring to know the condition of
affairs in the villages or cities which were
located on the fringes of his domain.
They are looked upon as the “ hanging
on ” cities.

BALLER LESSON XIV.

fu\ A prefecture ; a palace.
r yen3 Radical No. 53, a covering, a hut.
fu4, Phonetic, to deliver to. With the addition
of the radical the meaning of the charac¬
ter is a place r where taxes are paid,
ft. A man \ takes and a hand gives.
(W. 45 C).
182

389 chou\ A political district.

ch’uan1, Radical No. 47, streams. (W. 12 E).
This is an old character and does not
break up into radical and phonetic. In
the old writing it represents tracts of land
surrounded by rivers. (W. 12 L).
390
m hsien*, A district.
mi4 Radical No. 120, silk. (See No. 8).
ft. ft hsiao1 Phonetic, the head of a criminal hang¬
ing up, the hair is hanging down. (W.
160 A). With the addition of if* hsi1, a
modification of jfe mi4 silk, the idea of the
head being hung up is emphasized. A
hsien4 was a place where an official resided
whose rank enabled him to execute crimi¬
nals. (See Chalmers No. 187).

sheng3, or hsing*. Sheng3, a province ; hsingft

watchful.
0 mu4, Radical 109, the eye. (See No. 102).
/J? shaos, Phonetic, few. This phonetic is devoid
of phonetic significance. There are three
ways of explaining this character, but
only .two of them are worth recording.
The p is said to be the eyebrow frowning
as if endeavoring to see more distinctly.
The other explanation is that the A? shao8
indicates a narrowing of the palpebral
fissure in order to see better. This is fre¬
quently done by nearsighted persons as it
gives them clearer vision. (W. 158 D).

/ou2, Loft, a story, a house which is more than

one story high.
 1SS

mu*, Radical No. 75, wood. (See No. 22).

lou2 Phonetic, the part of a palace where wo¬
men are confined. (W. 67 N). Women #
nuz, enclosed chungl, in the # wu2, prison
of the gynecium. With the addition of the
wood radical it is the symbol for a
house which is higher than the ordinary
dwelling.

tuarf, Short, deficient

shih4, Radical No. Ill, a dart. (See No. 100).
ton4, Phonetic, a dish. (W. 165 A.) The char¬
acter for short was formed by putting
together two of the shortest utensils of the
ancients, namely, a dart and a dish.
The character for long ;H, was hair that
was so long it had to be fastened with a
brooch. (For long, see W. 113 A).

hsin1, New, recent.

JX chin1, Radical No. 69, an ax. (See No. 358).
chen1 Phonetic, the Chinese hazel bush. Rods
of this shrub were used for beating crimi¬
nals and, for this purpose, it was necessary
that they be freshly cut. Thus hazel
brush chen1 and ax Jr chin1 became the
symbol for new or fresh, as the ax by the
side of the rods implied that they were just
cut. (W. 102 H). The present writing of
hazel chen1 is not like the above, which
is the old writing.

chiu*, Old, worn out, formerly.

chiu*, Radical No. 134, a mortar. (See No. 479.)
huan2 or chui2 Phonetic, a horned owl.
134

^fgchiu*, was originally used for #£ chiu*, a

corpse placed in a coffin. In the shops
coffins are euphemistically spoken of as
Itfcl* shorn ts’ai2, material for the aged or
old. This usage may have stamped the
meaning of old on H chiu* as in the above
writing it represented the corpse in the
coffin. (W. 103 C) (cf. 428.)

*1 huaP, To spoil, ruined.

-f* t’u3, Radical No. 32, earth.
TEg huaP, Phonetic, to hide in the bosom, covered
from the. eye by putting in the breast.
(W. 16 J). The upper part of the phone¬
tic is a cover, the part which looks like W
wang3 is 0 imp written horizontally in
order that it may not take up so much
space, the lower part is the radical for
clothing with the cords which are used as
fasteners across the breast of the garment
represented. Others explain that =p taP
means to hide as the eyelashes fall over
the eye and hide it, and is here placed in¬
side of the & i.e. to hide in the clothing,
cf. No. 82, Ig.
With the addition of the radical for earth
the idea may have been,—if instead of hid¬
ing the article in the breast it was buried
in the earth it would be ruined.

ch'sPy To examine, to search into.

* mvPy Radical No. 75, wood. (See No. 22).
ch'ieh3 Phonetic, a chair without a back. It is
H used here as a simple phonetic. This art-
 135

icle was originally used in sacrificial

ceremonies and it enters into the composi¬
tion of many characters. With the addi¬
/ '
tion of wood it was originally used as
a proper name and afterwards it was
written instead of cA’a2. Thus it has
no etymology. Correctly written
nan2, Difficult, to cause distress.
chui1 Rad. No. 172, a short tailed bird. (See 21).
0|| han4 Phonetic, dried in the sun. In the old
seal writing the sun is shining on the loess
with fiery heat and drying out the mois¬
ture. With the addition of the radical for
short tailed birds, (most water fowl have
short tails) the idea is that when the pools
where these birds get their food are dried
up they are in distress. (W. 171 B).
ts’ao*, Grass, herbs.
-IJ* ts’ao3 Radical No. 140, grass.
B tsao3, Phonetic, early. (See No. 111). This
character originally stood for a kind of
grass which was used lor dyeing articles
black J*i. With the addition of the radical
it now means any kind of grass or herb.
(W. 143 E).

chiao1, To teach; a religion ; to allow.

p’u1 Radical No. 66, to strike. (See No. 17).
hsiao2, Phonetic, to leam. The seal writing is
two crosses X=i4, above a son if. (W 39
B). it hele indicates question and answer,
it, rao\ (See No. 165). The character X has the
meaning of influence from the cutting of
shears which it pictures. Here being
136

doubled it emphasizes the influence of the

teacher on the pupil With the addi¬
tion of the radical the idea of applying
the rod is portrayed. (W. 39 G, H). The
modem writing of this phonetic is identical
with hsiao\ filial piety, but it has noth¬
ing but -T in common with it. (W. 30 E).
m

chus, To boil.
^ huos, Radical No. 86, fire.
cfie8 Phonetic, a final particle, a suffix. (See
No. 270). This phonetic can be regarded
as the pronoun it; then the etymology is>
fire ik it Boil it by putting fire under it.

chin*, To enter in, to advance.

y_ cho1 Radical No. 162, walking and stopping.
/& chui1 Phonetic, a short-tailed bird. It has no
phonetic significance in this character.
172nd radical. (See No. 21). With the
addition of the radical IL it stands for to
advance; this may be because birds in
flying always move forwards, they never
fly backwards.
fang*, A time, an occasion.
jj| cfi’e1, Radical, No. 159, a cart. (See No. 136).
shang*, Phonetic, a roof of a house. (See No.
52). (W. 36 E). With the addition of the
cart radical it is used for the number of
times a trip has been taken. The cart
suggests that the idea may have been, —
the number of trips the cart made to a
certain house and back.
404
fry? i*, Advantage, profit.
,mJLm JE min*, Radical No. 108, a dish, (See No. 233).
 shuP, Phonetic, water. The character is lying
on its side, indicating overflow, or abund¬
ance. A dish JUL overflowing stands for
advantage or profit. (W. 125 C). This
is an old character and antedated the
glazing of pottery. Unglazed pottery if
made of sandy clay will not hold water,
but pottery made of good clay will retain
it. It would not be strange if pottery
which held water was taken as the symbol
of advantage or profit.

sao3, To sweep.
shotP, Radical No. 64 ; the hand.
chous Phonetic, a dusting brush. (W. 44 K).
In the seal writing a hand is represented
as holding a broom. The addition of the
hand radical at the side was made about
200 B.C.
hsiao4, To honor parents, filial piety.
tzu8, Radical No. 39, a son.
lao8, Phonetic, old. This phonetic is not
brought out in the modern writing. (W.
30 E). The phonetic in ffcffc chiao1 in
modern writing is the same as # hsiao41,
but it has nothing in common with it in
etymology. (See No. 400). Lao8 old,
stands for parents and the T ten8 son
should render that devotion and reverence
which is fitting and proper.

ching*, To reverence.
p’u1 Radical No. 66, to strike.
m.® chi4 Phonetic, to restrain ones self. (W. 54
G). This phonetic is made up of ^yang^
 sheep, contracted, and *} pao1 to cover
and 0 k'ou3 the mouth. To stand meek
as a sheep and restrain ones words. With
the addition of the radical which here can
be taken as the one who wields power the
idea is to be modest in the presence of
those in authority.

fang2, A hall, a meeting place.

+T fu9, Radical No. 32, earth.
shang*, Phonetic, a house, (See No. 52); hence
this is a suggestive phonetic. With the
addition of the radical for earth we have
an inclosure O which is roofed over *** but
the earth is the floor, a condition which is
by no means uncommon at the present
time. (W. 36 E).

ch’u*, A place, circumstances.

hu3, Radical No. 141, a tiger. (See No. 258).
ch’u*, Phonetic, a place. Suggestive phonetic.
The primitive idea of this phonetic was
to have walked until tired, ^ chih* and
come to a seat JL chi3. This character
had the radical hu8 added to it when the
characters were being put under radicals
but it contributes nothing save difficulty
in writing. To the present day the ab¬
breviated form is without this radical.
(W. 20 B).

ch'ang\ Constantly^
|jj chin1, Radical No. 50, a napkin. (See No.
143).
fn| shang\ Phonetic, a house, (See No. 52) (W.
 139

36 E). The radical chin' is a banner

which is constantly floating in front of
the headquarters, shungx, of the general.

k'o\ Numerative of trees.

a®#
mu*. Radical No. 75, wood. (See No. 22).
kuo6, Phonetic, fruit. (W. 120 1'). The fruit
is represented by FB t'ietr on the tree. This
combination would make an appropriate
numerative of fruit trees, but it is used for
all kinds of trees.

shu*, A tree.
Mu*, Radical No. 75, wood.
chu1 or shu4, Phonetic, upright, vertical. (W
165 D). This seems to be a* hand **j*
beating a drum chou‘. The idea of
vertical may have been derived from the
position in which the drum was held.
The left part is a drum p on a stand and
above is an ornament. With the addition
of the wood radical we have vertical or
standing wood, trees.

BALLER LESSON XV.

hou4, Thick, generous.

han1 Radical No. 27, a cliff. (See No. 42).
hou* Phonetic, liberal, generosity, ijl is the
reverse of f|=2^ i.e. The El is a gift7
and the rest of the phonetic is first five
strokes of kao\ high, reversed ; thus it
is a gift Q come down to an inferior
A superior man or the gods would give
140

lavish gifts, thus the meaning of generous

is attached to this phonetic. The /“* han*
is not cliff But a stroke which indicates
descent or the coming down of the gift
from above. (W. 75 G).
414
m cfi’uan2, To propagate ; to hand down.
jen2, Radical No. 9, man.
M chvtan*, Phonetic, singly, particular. (W. 91
F). ch’uan1 The upper part of this
phonetic is an ox harnessed and a trace
dragging behind with a ring for attaching
loads which are to be drawn. When the
lower part of the phonetic -»f hand, is
added, it is the character for a writing
tablet which was worn attached to the
-d* wrist. These tablets were worn by the
official scribes. A man A proclaims
what is written on his wrist-tablet U,
preaches from notes.
415
mm hsiu1, To repair, to build, to cultivate, adorn.
4,A jen\ Radical No. 9, man.
Mr yu1 Phonetic, to feel ones way across a ford
with a stick (See No. 160). This
phonetic has added to it ^ shan1, feathers,
long hair, ornament. This compound
phonetic and the radical for man stand for

416
m m to cultivate, to repair. (W. 12 C).

pao2, An herb of the mint family; thin, mean.

W ts’ao3, Radical No. 140, grass, is connected
with the first meaning of f@i.
7W p’w3, Phonetic, a wide expanse of shallow
water (For f fu3 see No. 151). The
phonetic M fvt, the hand of an adult, it,
 141

broad, amplitude. From this meaning

the idea of breadth runs through several
characters which have this phonetic, (W.
109 D). Here breadth without depth
suggests thinness, meanness.
417
hsiao4, To laugh at, to 6mile.
Yf chu2, Radical No. 118, bamboo. (See No. 7).
yao1, Phonetic, a man in the act of bending
forward in order to jump, march or laugh
more easily. With the addition of bamboo
the character is used for, to laugh, because
when the wind waves the bamboo it
resembles the movements of a man con¬
vulsed with laughter. (W. 61 B) (See
No. 322).
418
yuan2, Round.
weP, Radical No. 31, enclosure.
yuan2, Phonetic, round. (W. 161 B). Origi¬
nally this phonetic was the full writing of
the character, but HI wei2 was added later.
The character now has two tj weP radi¬
cals as the small square above the jl pel'*
is weP. The meaning was something
round like a cowrie H-

chiang*, An artisan.
r fang1 Radical No. 22, a log hollowed out.
(W. 51 A).
Jx, chin1, Phonetic, an ax. No phonetic significance.
(W. 128 A). The seal writing is said to
be a representation of the instrument.
The little stroke to the right is thought
to be a chip of wood. This is the 69th
 radical. (Cf. No. 358). When the radical
for a hollowed out log is added it stands
for an artisan or the work of an artisan.
The hollowing out of trees to make boats
or vessels was probably one of the first
mechanical devices employed.

ch'ing2, The affections, the feelings.

f.'O hsin1, Radical No. 61, the heart.
sfe: ch>ingLy Phonetic, the colors of nature, (See No.
R 63), (W. 115 D). With the addition of
the radical for heart the character stands
for those feelings which are pure or
natural to the heart of man.

sbih2, Real, true, really, solid.

i >

mien2, Radical No. 40, a roof.

kuan4, Phonetic, long strings of cowries or
cash. (W: 153 A). The upper part of
the phonetic, which by the way has no
phonetic value, is two articles nj strung
together on a string —, ;■» kuan\ and the
lower part shows that these articles are
cowries or coins X pc?- When roof is
added the character stands for real wealth
stored away where it is available for use,
not a false pretense of wealth.

hsingz, to become sober after being drunk, to

wake up, to startle.
y u3 Radical No. 164; a kind of jar which was
used for keeping fermented liquors. The —
shows that there is something in the iar,
(W. 41 G).
hsing1, Phonetic, stars. (W. 79 F). The
 143

oldest writing of this character has three

stars or suns above & shcng1. The stars
' $ are supposed to be formed j?fe shetig1 from
the quintessence of sublimate matter rising
up to heaven. ching1=clearf crystal. g|
fes/ng3 is to become clear headed after
intoxication.

hud\ Calamity, misfortune.

shih4, Radical No. 113, to reveal. (See No.
227).
kaa8 Phonetic, a defect in the conformation of
the bones of the mouth a cleft palate. (See
No. 119). When the above radical is
combined with this phonetic there is the
suggestion of divine judgment. If a child
is born with a hare lip or a cleft palate
it is regarded as a calamity H sent from
heaven tf. (W. 118 A).

k’u\ To cry.
P k'ouz, Radical No. 30, the mouth.
ch'uan*, Phonetic, dog, — without phonetic
significance. Confucius remarked that
this character is a picture of a dog. The
two mouths nn hsiian1 indicate a call or
outcry, hence means to howl or cry no
after the manner of dogs (W. 72 C).

ch'ien3, Shallow.
shuP, Radical No. 85, water.
chien1 Phonetic, to exterminate, to destroy,
dangerous. The common work of two or
more halberds. (W. 71 R). (See No.
13). This phonetic always gives a bad
144

or insignificant color to the character.

Shallow water is dangerous to a sailor.
426 j jj- ^
shih*, An age, a generation, thirty years.
—• P, Radical No. 1, one.
w san1 shill1, Phonetic, thirty. No phonetic
significance. (W. 24 O). is the con¬
traction of three -f* shih2 or thirty and the
horizontal line below in !£, is the radical P
— one. Thirty years make one generation.

wen2, Strokes, lines, literature, elegant.

Radical No. 67. This is one of the oldest
characters and it is supposed to represent
the grain in wood or ripples on water.
(W. 61 F).
428
clPiian*, To exhort, to advise.
A'4, Radical No. 19, strength. (See No. 212).
kuatP, Phonetic, a heron. (W. 72 J). A
short-tailed bird -ft chuP, with egrets,
or horns, which has a loud call hsuaiP.
The horns of a sheep are taken to repre¬
sent the egrets. The Shuo Wen has no
etymology for this phonetic in combina¬
tion with the above radical. It may be
that this combination was used owing to
the great patience of the heron. Its
Chinese common name is “ old waiter ”,
lac? teng*. It will gaze into the water for
hours without moving, in order to secure
a fish. If we cpuld use the same patience
and vigilance in persuading men much
would be accomplished, hence it is not an
inappropriate symbol for, to exhort.
 145

ma4, To curse, to revile.

|9| wang”. Radical No. 122, a net. (See No. 38),
, ’ (W. 39 C).
J§| ma?y Phonetic, horse. Radical No. 187. (See
No. 261), (W. 137 A). The Shuo Wen
does not explain this character It seems
to be an arbitrary combination of radical
and phonetic. Catch a horse ^ in a net
and you will want to revile

je*, To provoke, to irritate.

hsinS Radical No. 61, heart. (See No. 18).
je4, Phonetic, the primitive sense is to pick
herbs ft to eat P ; to select. (W. 46 G).
The ordinary meaning is if. Just wky this
combination of radical and phonetic should
mean to irritate is not very apparent. If
the je4 is regarded as selecting,—one who
is over particular in selecting is most ex¬
asperating, or irritating to the mind <0.
431
tvit,Without, none.
huo%, Radical No. 86, fire. Fire was arbitrari¬
ly considered as the radical of this charac¬
ter; in the old writing there is no such
element in its composition but forest is
the original form for the /*rt. Chalfant sug¬
gests that this character is made up of ^
ch'eng*, primitive meaning, a warriors
car and C wangl, lost. This last charac¬
ter, in an old writing, is placed where the'
horses should be and the idea, according
to the above mentioned authority, is that
the animals have strayed away in the
forest. The forest is represented by
 litr, in seal writing and the £ wang1 is
placed between the two trees. (See Chal-
fant Plate XXVIII, and W. 10 I).

chieh*, A boundary, a limit.

H3 t’kn\ Radical No. 102, afield. (SeeNo. 207).
iti chieh\ Phonetic, boundaries, the lines that se¬
parate A pa1, men A jeri\ (W. 18 F).
With the addition of the radical for
field the idea of field boundaries is very
evident.

lair, A basket.
Mr chu2, Radical No, 118, bamboo. (See No. 7).
Jjg£ chien1, Phonetic, to examine, to oversee, a jail.
(W. 82 F). (See No. 294). By taking
the meaning of this phonetic as a jail or
place of confinement, then by the addition
of the bamboo radical we have a wicker
utensil in which articles may be placed or
confined, for safe transportation.

shui4, To sleep.
g mu\ Radical No. 109, the eye. (See No. 102).
gg*
ch'ui2, Phonetic, to hang down. (W. 13 E),
(See No. 387). With the addition of the
radical for eye the idea of the eyelids com¬
ing down and covering the eye is set forth,
naturally suggesting sleep.

chiao*4, chiieh2, To perceive, to feel.

^ chien, Radical No. 147, to see, to perceive.
(W. 158 C). (See No. 85).
hsiao2 Phonetic, to learn. (W. 39 I). The two
 147

sides of the phonetic are the two hands of

the teacher pressing down on the *— waste
space where ignorance reigns in the head
of the pupil; the two JC i* between the
hands indicate the questioning and ans¬
wering of teacher and pupil. $ = doubl¬
ing of cutting shears, idea of influence
(see No. 400 and 165). With the ad¬
dition of the radical, M to perceive, the
character means, to perceive, to know.

BALIiER, VOCABULARY III.

136 tfe*
“ST, ISI hai\ To injure ; to contract a disease.
mien2 Radical No. 40, a roof, (See No. 1).
This being a very old character it does not
fall easily into radical and phonetic. The
phonetic should be a combination of ^
chieh4 and p k’ou8 but we find no such
combination outside of this character. #
chieh* is the first mnemonic invention
after the knotting of strings. It represents
notches ^ on a | stick. The stick was
injured by these notches. When the
word for mouth, P &W, is added the
idea is that one injures another by slander
and when the above radical is added, the
injury is done under cover ^ i.e. secretly.
(W. 97 E). £ Chieh* is very like, ^ feng1
a leafy bough, (See No. 312).
437 ping*, Disease, defect.
ni* ox chP Radical No. 104, disease. Thisiadi-
' cal is made up of i1 a straight horizontal
line, the position of a sick person, and bed
 M ch'iang2. Thus it means, to be sick.
The scribes arbitrarily added a dot on
top. (W. 127 C).
(53 ping3 Phonetic, the third of the ten stems. It
is a fire Jl! in a house f\ and thus it is a sug¬
gestive phonetic, as a feverish person, a
sick person, is hot (W. 41 A). When the
radical for disease is added to this phone¬
tic it forms a fitting symbol for disease.

1 hsiiehP, Snow.
yu3, Radical No. 173, rain. (See No. 61).
-=f> chi4 Phonetic, a hand. (W. 44 A). The
original phonetic was broom, §g hvti* but
it has been contracted to chi* and there
is little use in remembering the original
phonetic, save to explain why the present
phonetic has no phonetic value. (W. 44
J). With the addition of the rain radical
we have the rain jfj which can be taken
up in the hand ^ or swept away A
good combination for symbolizing snow.
i\ To heal.
m yus, Radical No. 164, wine or a cordial. (See
No. 422).
*5* i1 Phonetic, to take out £ shu1 arrows ^ from
the quiver g P. The idea is that these
arrows are to be shot at the demon of dis¬
ease. The cordial radical |f is added as
it indicates that spirits are to be ad¬
ministered to the patient. (W. 131 C).
yang*. To nourish, to rear.
shih\ Radical No. 184, to eat. (W. 26 M), (See
No. 75).
 149

yang1, Phonetic, sheep, (See No. 253). This is

a suggestive phonetic as the eating of
z ' mutton is one means of securing
nourishment, Wt (W. 103 A).
441
7^, 'fy ying^, Brave, heroic; England.
"H* ts’ao3 Radical No. 140, grass, (See No. 22).
yang1, Phonetic, a man iz in the midst of a
large space, rt; in the seal writing it is a
man in the midst of a jungle. (W. 60 K).
With the addition of the radical 44- the
idea of jungle is still further elaborated.
It requires bravery to enter a jungle where
fierce beasts abound.
442
te2, Virtue, moral excellence.
^ ctiih4 Radical No. 60, a step with the left foot.
(See No. 128).
^ te2 Phonetic, virtue, jf[ chihr upright, hsin1
heart. This was the original writing of
the character fS, but it was finally put
under the 60th radical. (See No. 99 for
explanation of phonetic). The addition
of the radical may impart the idea of
action or going out ^ ; in order to deve-
lope virtue it must be exercised, and go
out to others.
443
yuan4, A court yard ; a public building,
g /u4 Radical No. 170, a mound. In the seal
^ writing a mound f is depicted with three
steps % leading to the top of a terrace.
(W. 86 A).
wan2, Phonetic, finished, done. (See No. 93).
This phonetic often has reference to build¬
ings and with the above radical it indi-
150

cates a large court surrounded with

buildings, or public offices (W. 29 H).

huang2, Imperial; the sovereign.

JzJ par, Radical No. 10(3, white. (See No. 6).
rp wang1, Phonetic, king, ruler, royal. (W. 83
C). Chalfant has the most likely explana¬
tion of this character. He has found old
writings which seem to indicate that it
was a string of jade beads f; as jade beads
could only be afforded by the royalty, this
was the symbol which was adopted to
indicate the ruling class. (See Chalfant,
Plate XVIIj. The Q paP is contracted
from g tzTP beginning, self, and thus the
character H huang1 originally meant a
king by right of birth.

Jang, A wolf, cruel.

% ch'uatP Radical No. 94, a dog. (See 424).
Hang', Phonetic, good, sagacious. This phone¬
tic has undergone many changes with the
vai'ying ideas as to man’s original nature.
The primary meaning was the nature of
man, a gift from heaven, is good. The
gift is represented by ©. The coming
down from heaven was represented by f3.
Ihe next more modern form is The
two convergent strokes at the top are
heaven and earth coming together, the
middle part of the character is the gift and
the bottom part indicates that this gift
111 ay be lost lA, (W. 75 F). This seems a
most inappropriate phonetic for wolf; the
explanation is as follows:—The wolf is
 151

extremely sagacious, in knowing where to

go to escape danger and where food can
be obtained, he is an expert & dog, %,
best of the dog tribe.

ling1, Spirit, spiritual, intelligent.

ji|f jru8, Radical No. 173; rain. (See No. 61).
ling2 Phonetic, the falling of rain in large
drops, the large drops are indicated by
the three circles. These circles have been
changed into squares as usual in the
modem writing. This phonetic does not
conform to the usual rule of phonetics, in
that it includes the radical and does not
contain all parts of the character except
2E> the radical; 35 wxi* was added to the
character at a later period. The rain
was something very earnestly desired for
the crops, and they made supplication for
it. The lower part of the character is a
symbol which represents witches danc¬
ing to obtain rain; the work X of witches
M. (W. 72 K and .for wu1 W. 27 E).
Because the spirits were invoked for rain
this character has been used to represent
spirit or spiritual.

hun2, The soul.

^ kueP, Radical No. 194; the spirits of the dead.
(W. 40 C). The old character is a primi¬
tive representing a human being vanishing
into the air. This character has under¬
gone several changes. The upper part is
said to be the head of a demon, the lower
part is a human being and the X* is a
 representation of the swirl made by the
demon when it moves.
35t yiin2, Phonetic, clouds, borrowed to mean
speak. This phonetic adds the idea of
evanescence. The spirit is not visible to
the natural eye. (W. 93 B).

leP, Thunder.
j$) jru\ Radical No. 173 ; rain, (See No. 61).
p| t’ieiP, Phonetic, field. Without phonetic sig¬
nificance. (See No. 45). This character
18 was originally written with three or
four t'ietP and a small symbol in the
center which indicated reverberation ; as
if the noise of thunder was caused on
account of the fields impinging. See
Chaltant, Plate VII. (W. 149 F).

ts'eng2, A story (of a house), a layer.

f~* shih1, Radical No. 44; a person in either the
recumbent or the sitting posture. A
living person who was, in ancient times,
dressed to impersonate the dead, and
was worshipped at the funeral. (W.
32 A).
ts’eng2, Past, already ; tsetig1, still more, to
add. The radical p shih1 seems an inap¬
propriate radical, a plausible explanation
is as follows:—the character “ story ” was
needed when houses were built more than
one story high. T*his was another room
jj| wa1 (See No, 337) added it tseng (See
No. 230) above the ordinary room. It
may be that the character t s’eng2 ft was
originally written 1$ i.e. M room t added,
 153

but was afterwards contracted to its

present form.

* ' chih\ To cure, to heal, to govern.

y^7jC shuP, Radical No. 85 ; water, (See No. 79).
Ms P Phonetic, I, ones self. No phonetic signifi-
° cance. This was originally the name of a
river and it seems to have been adopted
to stand for the verb to cure without
etymological justification.

ming2, A name, fame, reputation.

P k'ou3, Radical No. 30, mouth.
hsP Phonetic, evening. No phonetic value.
In the evening One should call out p his
name ig, in order that others may know
who approaches. (See No. 14).

tao3, To pray, prayer.

shih4, Radical No. 113, to show, to make
known, (See No. 227).
shoiP, Phonetic, longevity. (W. 144 B). The
upper part of this phonetic is supposed to
represent a ploughed field ch'otP, and
indicates constant repetition, the furrows
are turned over one after the other. With
the addition of p k' on* the idea of repeated
inquiry is conveyed. The present phonetic
has hand, -sj* ts’un4, added by the side of
p k’ otP, as gestures aid the petition. With
the addition of the radical this character
fulfills the heathen idea for prayer“ for
they think they shall be heard for their
much speaking.”
453
shih1, A lion.
4f cA'uan8 Radical No. 94, a dog. (See No.
424).
ftp shih1, Phonetic, a leader or master. Composed
of g tui1 an elevation of two steps, ele¬
vated, and tfl chin1 and — il, one or first.
This combination stands for the banner of
the commander-in-chief, the first —banner
over the fort fj, thus the idea of leader
or master is conveyed by this character.
With the addition of the dog radical, the
idea is set forth that the lion is the king
of beasts. (W, 86 B).

chPiang2, A wall.
?\ ch’iang2, Radical No. 90, a split log, (See No.
84).
se4, Phonetic, grain inclosed in a granary,
frugal, stingy. The present writing of the
phonetic has no phonetic significance, but
H ch’iang2, means a wall and it may have
keen originally used as the phonetic and
contracted to the present form. (W. 76
E). Iq She4 is composed of lin3 itf a place
® for putting grain in, A> A ju\ to put in,
(contracted) and laP, grain, also con¬
tracted. (W. 13 C), (See No. 64). (This
character now means to come). The aa
represented bearded grain hanging from
the stalk. With the addition of the
radical which is a symbol of strength,
we have a good combination for
wall. Walls were early built around
granaries.
 155

chi*, To adjust, to trim ; A dose of medicine.

U , 7J taox, Radical No. 18, a knife. (See No. 37).
chy? Phonetic, even. Doses of medicine should
be of uniform size. (W. 174 A). This is
the 210th radical. In the seal character
there are three stalks of grain. Stalks of
grain, standing in the field, are practical¬
ly all of equal heighth. These three ap¬
pear to us as quite uneven, but this is
because our ideas of the perspective differ
from those of the framer of the character.
The lower of the two horizontal lines at
the bottom, is the foreground and the
upper of these two lines is the back¬
ground, thus because each head of grain
is equally high from the ground, the
character stands for even. With the ad¬
dition of the knife radical we have the
idea of the apothecary using the spatula
in apportioning doses of medicine.
y
yao?, Medicine.
*

ts'ao'\ Radical No. 140, grass, (See No. 22).

vao*, yiieh*, Phonetic, an ornamented frame on
9®

lc* which drums and a bell are placed. The

drums are on the sides and the bell is in
the middle. (W. 88 C.) This instrument
gives the five sounds of the Chinese scale.
o

It is necessary to observe the seal

writing in order to see the intention ot
the symbol. These five parts of the in¬
strument are all in tune. With the addi¬
tion of the radical for grass, the idea is
any vegetable substance which will re-
 store the proper functioning of the body ;
restore harmony. Vegetable substances
were first used as medicines.

BALLER LESSON XVI.

pei1, Bed-clothes, a sign of the passive, to

suffer.
% Radical No. 145 ; clothes. (See No. 51).
& p’i2, Phonetic, skin or covering. (W. 43 H.)
(See No. 224). This is the 107th radical.
Its use here as a phonetic with the radi¬
cal for cloth or clothing is logical. The
integument not being sufficient to keep
the individual warm, blankets were re¬
garded as cloth skin. The use of this
character as the sign of the passive and its
use meaning to suffer are without etymo¬
logical warrant.

ch'iao2, A bridge.
»2ii4, Radical No. 75, wood, (See No. 36).
^ ch'iao2, Phonetic, lofty. (See No. 322), (W.
75 B). A bridge is a high structure,
often made of wood ;fc.

pa4, To stop; finish, resign: sign of the im¬

perative, interrogative particle.
^ W wang\ Radical No. 122, a net, (See No. 38.)
j|g neng\ Phonetic, able. (W. 27 J). (See No.
357). The explanation of by the
Shuo Wen is ; an officer,gg an able man,
taken in the meshes $J of the law and
dismissed.
 157

meng2, To cover, to conceal; sign of passive.

ts'ao3, Radical No. 140, grass. (See No. 22).
/ • meng2, Phonetic, to cover. (W. 34 I). The
upper part of this phonetic is PI mao3; to
Wi cover something. The lower part is
shih3, a pig under cover. Another explana¬
tion is that it is a representation of the
wistaria which forms dense foliage and
hides from view any thing beneath it.
The jjjc shih3 is not pig, but the vine twist¬
ed and coiled around itself.
461
p'eng\ To strike against; to happen ; to meet
with.
^5 shih2, Radical No. 112, a stone. (See No. 42).
^ pingi Phonetic, together. (W. 115 B). From
ctiien two scale pans or shields (?) evenly
|| poised; in ping1 ft # a man is placed above
each pan, or shield, indicating that the two
are going along together. When one comes
into collision with a stone he is struck {jg.

hsiieh2, To learn, to study.

tzu3, Radical No. 39, son. (See No. 1).
633 hsiao2 hsiieh2 Phonetic, to learn. (W. 39 I).
(See No. 435). This phonetic in com¬
bination with ft tzu3 is a good symbol
for, to learn.
463 <&/
shou4, To receive, to endure.
X yu*, Radical No. 29, the right hand, (See No.
43). This character cannot be broken up
into radical and phonetic ; the upper part
is /R. chao8, the right hand and below is
the right hand of a second person, (writ-
 ten in another way). Between these two
hands, one of which is giving and the
other receiving, there is a boat, only seen
in the seal writing. This portrays a
common occurrence ; articles are brought
to a boat and received for shipment,
(W. 49 E.)

miao\ temple.
ye/23, Radical No. 53, a covering a shelter.
(See No. 132).
chao1, Phonetic, morning ; to have an audience
with the Emperor. (W. 117 D). This
phonetic is made up of /can4 (See No. 137),
and $ chou1, a boat, changed to ^ in
modern writing. The rising of the mist
7 through the jungle iX as seen from the
deck of a boat, in the morning. By ex¬
tension, morning ; the Imperial court, so
called because court was held early in the
morning.
A temple is a place p where one can have
an audience with the gods.

hsiang”. To think, to ponder, to hope.

hsin1, Radical No. 61, the heart, (See No. 18).
hsiatig1, Phonetic, to examine, to inspect. (W.
158 B), (See No. 106). There is another
explanation of this phonetic which is not
given under the 106th character which
suggests one of its meanings, it is as fol¬
lows :—When \ about to build, one goes
into the wood, and examines g mu4
the trees until one is found which answers
the requirements. With this explanation
 159

the idea of appropriate is brought out.

In hoping, the heart longs for that which
is considered appropriate, or that which
is suited to its needs.

hsiang1, The country.

Q. R A Radical No. 163, a city, (See No. 11).
hsiang* Phonetic, cooked grain. (See No. 75).
(W. 26 L). This character is made up of
two & |l i radicals, one on the right,
written in the usual manner {$ and one
on the left is reversed $ . The % is written
between these for the country is the region
between cities, where food is produced.
467
nung*, To toy with ; to do
kungz Radical No. 55, hands joined. (See No,
247.)
3£, $ yd4, Phonetic, jade. Without phonetic signifi¬
cance. (See No. 124.) The hands are
toying with a string of jade beads,—a
verjr natural procedure.

nci*, Within, inside.

ju\ Radical No. 11, to enter. (W. 15 A.)
(See No. 35)
n» chiung3 Phonetic, space, a waste area." (W.
34 A.) The two vertical strokes indicate
the limits, and the horizontal stroke in¬
dicates the space between. When \ is
added, the idea of going into this area is
set forth, so this character is the symbol
for inside.

k'u3, Bitter, sorrow, suffering.

160

i|jl -ff* ts’ao3, Radical No. 140, grass. (See No. 22).
r. Am3, Phonetic, pld. (See No. 17.) (W. 24 F.)
*"* This phonetic plus grass, originally
stood for a bitter plant which became
sweet after freezing. It is now used mere¬
ly as the character for bitter.

tsao1, To meet, to encounter, a turn. Gen¬

erally used in a bad sense of encountering
evil conditions.
cho* Radical No. 162, to walk. (See No. 10.)
|jt ts’ao2 Phonetic, judges (W. 120 K.). In an¬
cient tribunals, two judges sat in the
Eastern Hall, represented by two "M char¬
acters, to pronounce judgment 0 on cases
brought before them. When is added,
we have the picture of a man who goes
before the judges to endure an unpleasant
ordeal. Thus the character implies meet¬
ing with undesirable conditions. The
modem arbitrary contraction makes the
character lose much of its original signifi¬
cance.
471
__ i*, To discuss, to talk over.
» yen2, Radical No. 149, words. (See No. 10.)
H i*, Phonetic, harmony, righteous, public, (W.
71 0.) This phonetic is made up of
wo3 (See No. 2) and #: yang2, sheep. (See
No. 253). (W. 103 A.) When the above
two characters are combined, the ^ wo3
has its original meaning, namely, a con¬
flict,—two spears attacking each other.
With the addition of yang2, the two
combatants have changed and become
 161

lamblike :—neither one is aggressive, con¬

cord is restored. With the addition of M
yena, this combination stands for dis¬
cussing affairs in the spirit just described.
Discussion f in a righteous way.
472
ling'. To lead, to guide; to receive.
yehA> Radical No. 181, a man—head and body;
but the meaning often is restricted to the
head. (See No. 105.)
ling*, Phonetic, an order. (See No. 61.) With
the addition of M, a man, the idea is that
this man or leader gives the order of pro¬
cedure.
473
ts’un1, A village, a hamlet.
mu4, Radical No. 75, wood. (See No. 36.)
-J. ts’un\ Phonetic, hand ; modern meaning—an
J inch. (See No. 69.) Originally the char¬
acter for village was ts’an1; but ft has
supplanted the former entirely. As there
is no etymological reason for using the
present character, therefore there is no
logical explanation. In looking over the
North China plains in winter, the
villages seem to be nothing but little
clumps or handfuls T of trees ^c, and by
keeping this in mind one can remember
how to write the character.

474 ling*. Separate, besides, extra.

P A’on8, Radical No. 30, mouth.
This does not break up into phonetic and
radical, as it is a primitive. In the seal
character it represents a knuckle bone.
 (joint) extending out from a piece of meat.
In the seal writing it very closely re¬
sembles $ kaa*; but it is not the same.
The knuckle or bone extending beyond the
meat is taken as the symbol for that
which is extra, or something left over.
(W. 118 B.)

shang*, To consult, to give advice, to de¬

liberate.
O k’ou3, Radical No. 30, mouth.
This is a character whose modern radical
does not agree with the original composi¬
tion of the character. The FI is a house,
and % is words (See No. 10). Between
the lower two elements of yen2 the
symbol A ju4, to enter, is inserted. This
gives the idea of being away from
others, where two persons can consult
in private. In the oldest writing two
B jih4 (sun, day) characters are added,
thus implying that the consultation took
place between two days, at night. To
trade or to do business is a secondary
meaning; but as bargaining requires much
consultation it is logical.

ch'ou1, Silk.
ssu\ Radical No. 120, silk.
JjfJ chou1, Phonetic, complete, (W. 109 C.). This
is a combination of jfj yung\ useful, and
7 chi\ the old writing of#. The idea of
M is an arrow piercing the target, ability,
and when # or 7 (which is now chang¬
ed arbitrarily to P AW) is added, the
 163

idea is ability to hit every target hence,

universally. With the addition of the
radical for silk, it is a simple phonetic in
the character for silk fabric. It may be
that originally silk threads were some¬
times mixed with other fibre, and this was
to indicate that it was pure silk.

tsan\ Honorable, noble.

(W. 47 C.)
“>j* ts'un\ Radical No. 41, a hand or measure.
(See No. 69.)
^ chiu' Phonetic, liquor ® yu3, when the fermen¬
tation is over and the dregs are entirely
separated A pa\ Thus spirits that have
settled and are kept in a wine vessel, only
used on sacrificial occasions. With the
addition of which in the seal character
is two hands H, we have the idea of offer¬
ing good spirits with both hands, rever¬
ently to a distinguished guest. Compare
Ip. % pel4 ordinary, vulgar. (W. 46 E ;
W. 47 C.) (See No. 526). It is a common
wine glass, presented with the left hand
only.

BALLER LESSON XVII.

tang1, To value, appraise, to compensate.

tang\ To be equal to, to pawn, ought. (W.
36 E.)
H3 fieri2, Radical No. 102, a field. (See No. 82.)
shang', Phonetic, a house. (See No. 52.) This
1 4 character shows that the Chinese have
long been in the habit of pawning. House
 and field being of most value, all other
articles are included; and because in
pawning the value of the article or thing
is that of most ^importance, therefore the
character stands for “to be equal to,” to
value.

ju8, To give, with.

chiu*, Radical No. 134, a mortar. The
character is supposed to picture a mor¬
tar ; but the representation is not strik¬
ing. This radical was arbitrarily given,
and has nothing in common with the
original idea.
yii3 Phonetic, giving food from a spoon; to give,
with. indicates a full spoon with—in it.
*

—(at the top) shows that something is

being given away, i.e., removed from the
bowl of the spoon. This character $l,
was originally written in this way 5, and
is still so abbreviated. But it has suffered
great changes. The hands of the giver y
and the receiver H have been added.

so , A place, that which, whatsoever.

Au4, Radical No. 63, one leaf of a door ; by ex¬
tension, a house. (W. 129 A.) In the
seal writing p is one half of PJ men2. (See
No. 5.)
Jf,/c chin1, Phonetic, an axe ; catty. It has no pho¬
netic significance, because the character
Jjlf was made before radicals and phonetics
were adopted. The Shuo Wen says that
this character represents the sound of
chopping. It would be more logical to
 165

say it represents the place where the fuel

is prepared. As this was done near the
door or house J3, it has come to mean a
place or building, #r. (W. 128 A.)

kuan3, To care, to control; a tube.

rs chu2, Radical No. 118, bamboo.
'gT kuan\ Phonetic, an official. (W. 86 C.) (See
No. 310.)
With the addition or Ys chu2, it forms the
character for tube ; and it is reasonable to
suppose that this was the original mean¬
ing, and that the meaning to control or
to care for was added by extension, as a
tube controls the flow of water.

shao\ To bum, to heat, to roast; fever.

huo*, Radical No. 86, fire. A pictorial repre¬
sentation of a flame of fire, in the seal
writing.
yao2 Phonetic ; eminent, great. (See No. 77.)
(W. 81 C.) The phonetic is made up of
£tyao2, earth heaped up, and % W, a
stool or platform. (W. 29 K.) Thus the
idea of very high is set forth. When the
radical for fire is added, the character
stands for a big blaze or great heat.

hung*, To cheat, to deceive.

k’ou3, Radical No. 30, the mouth.
kung*, Phonetic, all, together. (W. 24? I.) In
one old writing four hands are represent¬
ed as working in unison. With the ad¬
dition of P k’ou3, the idea of unison is
transferred from hands to words. If
several persons assist by saying the same
166

thing, deception is easier of accomplish¬

ment. (The seal writing is twenty **
Pairs of hands, ft.)
484
ken\ To follow, the heel, and, with,
jg, gi tsu2, Radical No. 157, the foot. (W. 112 B.)
The Shuo Wen says that the upiier part
of this radical is O; the circle indicates
that the foot is at rest. When motion is
indicated ig, 7E is used. The lower part is
Ik chih3, to stop. is now used for the
foot in general. S*, 7£ p’i32 (shu2), the 103rd
radical, was the counterpart of J£. The
seal writing shows the 7 on top of Jfc, a
foot in motion. The use of ik seems un¬
fortunate ; but in walking the foot is con¬
stantly starting ? and stopping it. The
present use of /£ p’i32 (shu2) is a bolt of
cloth. This is undone by turning it over
and over,—a repetition of stopping and
starting The character pu\ to walk,
also represents stopping ik and starting
C?'. The is ik chih2, reversed so mean¬
ing to start. Thus walking is a repetition
of stopping and starting of the feet. (W.
112 C, G.)
a A£n4 Phonetic, perverse, obstinate. (See No.
223.) (W. 26 L.j In following there
must be persistence of action, or it is. not
accomplished. The fixed or hard part Jfc.
of the foot & is the heel gg. “ To heel ”
is the order to a dog to follow.

shu2, To redeem, to atone, to ransom.

Jf| pei4, Radical No. 154, precious. (See No; 38.)
 167

sis yu* Phonetic, to hawk, to peddle, (W. 79 J.)

The modern writing of this character is
identical with ^ mai\ to sell ; but it is
from a different root, and this explains
why so many characters with this phonetic
have a final u instead of ai. The phonetics
H maP and I maP are used in only a few
characters as phonetic. The upper part
of this phonetic is ^ lv*, a mushroom,
a plant 'j' that stands as a man Below
the ± there is a g mu4, eye, written hori¬
zontally"“mu4, a loving eye. With the
addition of the radical ji. the idea ot
hawking is set forth. Hawkers look on
their wares with great regard, and in this
way they induce purchasers to give the
highest price.
With the addition of a second H peP this
is the symbol for to ransom ; in ransom¬
ing the full value must be paid.

mierf, The face, a surface, a side.

Radical No. 176, the face. (W. 160 B.)
This radical is made up of W shou'\ the
head, and a primitive D which is the out¬
line of a face. The.M, while said to be
the face, is nose &, all save the—dash
above. The nose is the most prominent
part of the face.

kaP, Should, ought, to owe.

Him H

yen2, Radical No. 149, words. (See No. 10.)

haP Phonetic, nine to eleven P.M., a symbol
in the horary cycle. (W. 69 K.) (See
 No. 180) When combined with li yen2
it has only simple phonetic force.
\

hua1, Flowers ; to spend.

-H* ts’ao9 Radical No. 340, grass. (See No. 22.)
fa hua4, Phonetic, to change. (W. 30, D.)
Originally it was S t, man tumbled
heels over head ; i.e. changed and later the
radical A jeri* was added. The character
enters into the composition of ig Jao9, old.
(See No. 209). When ts’ao3, is added to
it hua*, it forms the symbol for flower.
A flower is that part of a plant which is
strikingly different or changed from the
other parts.

pj8, That, the other, there.

^ ch’ih4 Radical No. 60 ; a step, to go.
rihf p’i2, Phonetic, skin. (W. 43 H.) (See No.
224.) This is the 107th radical. It is
here used as a simple phonetic.
The radical -f, going, is chosen for the
demonstrative pronoun “that,” because
it is distant and one must go ^ to it.
Hfc tW here, has jfc stop, as the radical-
one stops and that object now becomes
“this." (cf 491.)

ke\ To cut, to hack, to reap.

U , 7J tac>1’ Radical No. 18, a knife. (See No. 37.)
ha?> Phonetic, to injure. (F. 97 E.) (See
No. 436.)
This when combined with 71 tao1 is a
®^SS^stive phonetic, as in reaping violence
has to be done to the standing grain. To
 169

reap was probably the first meaning of

this character.

mM t'zif, This, here. (W. 112 A.)

chih*> Radical No. 77, to stop. (Chalfant,
Plate VIII.) Chalfant has an old writing
which represents a plant withered from
lack of moistnre.

\u, (\ P*8 Phonetic, to* turn one’s self around; the

21st radical. (W. 26 B.) The modern
writing of this radical is identical with fc
hua*, change, (W. 30 D) ; but they are
quite different in the seal writing. “ This
jib is the place to stop it and turn fc ” is
a convenient mnemonic for Hfc, and jh
chih* is a logical radical, as one going to
a distant object, ($t designated as that,
there,) stops on arrival and may now say
this, here jlfc. (cf. 489).

plenty Convenient, advantageous.

'f.A jen2, Radical No. 9, man.
keng*, Phonetic, to change, to improve. (W.
41 A). This comes from lift ping3, a fire
burning a house, calamity. When X p’uj
a right hand using a rod, a sign of control,
is added, the fire, instead of being a de¬
stroyer, is a convenience, an advantage.
. (See No. 226).
When the radical for man is added the
idea is set forth that affairs are adjusted
so that men are satisfied, get advantage.
493
suP, To follow, to accompany.
170

/a4 Radical No, 170, a mound. (W. 86 A.)

In the seal writing it represents a terraced
embankment; by extension earthworks,
embankments, etc.
jfe
m suP, Phonetic, to follow (W. 46 D.). This
phonetic has its root in to4* to build
earthworks about a city in order to be¬
siege it. The 3c left hand repeated indicates
that the enemy is in great numbers, and
that the action is contrary to the action of
the besieged. In Pi (meat cut up) one of
the 3c tsoz, is replaced by R jou*. This
may have been suggested on account of the
mutilation of the vanquished ! With the
addition of choA, the character indicates
following around the ramparts, per¬
haps in order to avoid being wounded,
(mutilated).
494
chisPy To add to, to increase. (W. 53 D.)
lPy Rad. No. 19, strength, muscle. (See No.
212.)
While P A’ou®, occupies the place of the
phonetic, it has no phonetic value. The
idea is: first give the order, P and if it
is not heeded follow it up with chastise¬
ment (muscular punishment) 37.
495
p aoz, To run.
tstP, Radical No. 157, the foot.
^ pao1, Phonetic, to wrap up. (W. 54 B.)
This is made xup of *~J $ pao1, a person
bending over to enfold an object (See No.
80). With the addition of B S* it means
to wrap up. The primitive meaning was
 171

gestation. In Sfe the is a simple phone¬

tic, but when one runs the feet Jg. may be
, wrapped fg in a cloud of dust.

fei4, To waste, to expend.

pei4, Radical No. 154, shell, precious. (See No.
88.)
fu24 Phonetic, not. Two rods, bound together
which bend in opposite directions, there¬
fore opposition, negation. In the charac¬
ter ^ it is a suggestive phonetic,—to look
on valuables (money) as if they were of
no value ; thus to waste them.

t'ang\ Through, universal.

cho4 Radical No. 162, to walk. (See No. 10.)
£ »! yung3 Phonetic, blossoming. 5 harf, a bud,
' opening flower (W. 55 K). The phonetic
of this phonetic is with the addition of
cho4, to go, the idea is that it is open
in all directions. This character was on
all “ cash ” to indicate that it was current
coin, passing everywhere, }§ffk
Ae2, A door screen, an ante-room, feminine
apartments.
men2, Radical No. 169, a door. (See No. 5.)
ke4. Phonetic, each, to be separate. (See No.
272.) (W. 31 B.) This phonetic implied
separation ; and when the radical 1*1 men2,
(door) is added, the idea of separate
apartments is obtained.

BALLEB, LESSON XVIII

Iicnz, To connect. (W. 167 B).

172

cho4 Radical No. 162, to walk. (See No. 10.)

ch’&, Phonetic, cart or carriage. (See No.
136.)
Without phonetic force. The Shuo Wen
says that the character represents a string
of carriages moving along as if connected.
Thus the idea of to connect is obtained.
Carts $ moving leave a continuous
track, not broken like the track of a man.
500
3B fan*, To transgress, to offend.
cA’uan3 Radical No. 94, a dog. The seal
character is a pictorial representation of
a dog. (W. 134 A.) (See No. 424.)
B hans Phonetic; to blossom, expansion, erup¬
tion. (W. 55 K). (See No. 497.) This
combination of radical and phonetic is
very apt. What could be more suggestive
of heedlessness than a dog in a flower
garden ?—unless it were a bull in a china
shop.
501
tao8, To fall over.
\ , yV ;en2, Radical No. 9, man.
gj tao4, Phohetic, to arrive at. (See No. 88.)
The original meaning of this phonetic may
have been similar to the expression “ The
hangman’s noose will be his end ” ; as a
sword was used for executions, the man
is prostrate when the knife descends. The
present meaning may have been acquired
by extension.
When the executioner’s axe 73 arrives g
the man A falls fgj.
 173
502 katf, To influence, to affect. (W. 71 F.)
hsin1, Radical No. 61, heart.
^ hsien2 Phonetic, to bite (modern meaning—
all). A wound made by the mouth p.
(W. 71 P.) j[Jc wu4, a halberd, jfc hsii1, is a
wound inflicted by a halberd, the - dash,
being the wound. Where □ k'ou?' is added,
the character is used for a wound inflict¬
ed by teeth. This kind of wound is most
painful; therefore when >6 is added it
forms an appropriate symbol for moving
the emotions. This is the character which
is used for physiological stimulation.

pang11, By the side of, others, border, lateral.

fang1, Radical No. 70, square. (W. 117 A.)
It is supposed to be two boats lashed
together so that they form a square
pontoon.
A.n p'ang1 Phonetic. A space with three bound¬
aries. The shang*, is the top, and the
two lower lines are the side limits. The
radical fang\ was added later, and it
conveys no additional meaning, as the
sides are the parts of the character on
which emphasis is laid. cf.

0 ^ )Ul P*4’ ^ust’ certainbr- (W. 18 G.)

^ hsin1, Radical No. 61, heart. (See No. 18.)
This character has been so mutilated in
its modern writing that all of its etymo¬
logy is lost; but a glance at the seal writ¬
ing enables one to understand the mean¬
ing. A pa1 eight, forms the two sides, and
 means to divide; between these two strokes
is a dart. The arrow must strike the
target in a certain spot, like the arrow
shot by William Tell. It seems primarily
to have been an interjection pointing
out a strict order. The placing of this
character under the radical for heart is
a mistake.

sui1, Though, even if.

it chuP Radical No. 172, a short-tailed bird.
(See No. 21.)
& The phonetic of this character is not com¬
mon, and is not found in the dictionaries.
Williams says the character is composed
of Pfg wePy only, and A chi'ting1, a worm,
and that it was a lizard. Others say it
is an insect & with a special head HJ. This
meaning has long since been lost, and the
character now means though.

jatPy Yes; still, nevertheless, on the other

hand. (W. 65 G.)
itw huos, Radical No. 86, fire. (See No. 482.)
nJi. Jar? Phonetic, dog meat. From RJ jou4, and
$1 ch’uarP, dog. With the addition of the
radical for fire the character originally
was used for roasted dog meat; but it is
now used as a conjunction, and con¬
sequently there is no logical warrant for
its present use.

chPy Since ; a sign of the past.

^0 wu2 Radical No. 71, without. (W. 61 C.) A
lame man ± wang\ who makes an effort,
 ]75

but meets with an obstacle — which he is

unable to overcome. While the above is
, the radical under which Kang Hsi places
this character, it has nothing to do with
it. It is % chi* (W. 99 E), to breathe in,
or to swallow which is the reverse of
ch’ien4, to breathe out; but as this is not a
radical it was placed under wu2. Cf. 273.
^ ^ hsiang* Phonetic, boiled rice. (W. 26 L.) 6
is a kettle, and the dash — is its contents ;
t is the spoon with which it is eaten.
(See No. 75.)
This is an endeavor to put into pictorial
form an intangible condition, and there¬
fore belongs to a class of characters which
is often disappointing; but here we have
an exception. The % is to swallow. The
remainder of the character is boiled rice,
a mouthful or a meal swallowed is some¬
thing finished or ended, hence it is taken
as the sign of the past.

^ Ja[ jal hsP, Pleasure, joy. (W. 165 B.)

W P k'otP, Radical No. 30, mouth.
A chou1 Phonetic, a drum on a stand, the P
■K“’ representing the head of the drum. Above
are the ornaments. This phonetic has no
phonetic value. When p A’otf is added
it stands for singing. Thus the character
represents vocal and instrumental music,
and by extension, joy.

509 §P ch'iieh*, Yet, still, to reject. (W. 17 H.)

p chieh1 Radical No. 26, a joint. (See No. 42.)
* It has the idea of restraint, as it is part
 of a seal,—a seal prevents forgery. The
meaning of joint may have originated
owing to this being only a section of the
seal.

ctiiao4 Phonetic, the upper lip ; the flesh £

above the mouth p k’oti\ This phonetic
when p chiebr is added means to restrain
one’s desires ; to reject, because nothing
more is desired. We speak of “ keeping
a stiff upper lip ” when undergoing that
which requires determination.

^ j'\ weP, The tail of animals. (W. 100 B.)

shih1, Radical No. 44; a person in the re¬
cumbent posture. (See No. 449.)
The phonetic in the seal character is =&
mao2 inverted ; but the scribes have writ¬
ten it in the regular way in the modern
character. Inverted it indicated that the
hair was growing downward.

huan\ Pleased, rejoiced, happy.

h> ch’ien*, Radical No. 76, to exhale; to owe.
(See No. 273.)
Hl H kuan4 Phonetic, the heron. (See No. 428).
When a heron has just swallowed a
fish it frequently emits a scream of
satisfaction ; and this may be why heron
$ and to exhale ^ are used to express
rejoicing.

pieri1, A queue; to plait.

& ssu1 Radical No. 1^0, silk. (See No. 8.)
pien4 Phonetic. Two ^ hsin\ criminals (W.
102 H.) =£ hsiu1 is composed of jen3, a
 serious offence, and J* shavg* ( “ old writ¬
ing) ; to offend one’s superior. In the
phonetic two criminals are supposed to be
mutually incriminating one another ; each
accusation is met with a retort of the
other’s deeper guilt. With the addition
of the radical for silk the character is used
for, to plait, as the two outer strands are
repeatedly thrown across to the opposite
side. In all compounds it has the idea of
reciprocal action.

BALLER, LESSON XIX.

p/en4, Everywhere, the whole.

cho4 Radical No. 162, walking. (See No. 10.)
p/en3, Phonetic, a tablet, or signboard ; thin
and flat; an inscription hung over a door.
(W. 156 D.) With the addition of
cho4j the idea of universal is conveyed, as
go where you will, the tablets are seen
over doors.

jao*, To forgive, to pardon, to overlook.

sh/h2, Radical No. 184, food. (See No. 75.)
yao\ Phonetic, eminent, great; earth heaped
on a high base. (See No. 77,) With the
addition of & shih\ the first meaning was
the abund ance of food. Thus by extension
to forgive. If one has plenty ^ of food
(the first article used in barter) he should
forgive Ini a debt to one ii\ want.

w:u\ To bury ; to lie in wait.

 178

t'u8, Radical No. 32, earth. (See No. 13.)

m IP, Phonetic, a Chinese mile; old meaning,
farm land, village, (W. 149 D.) (See No.
339). Because zh t'u3, is added, it is re¬
asonable to suppose that the first use was
trenches for military purposes. These cut
up the land as if for farming, only the
trenches were deeper and longer.
516
chun3, To allow, to permit; exactly, certainly.
ping1, Radical No. 15, ice. The seal writing
represents the ice crystals that form when
water is freezing. (W. 17 A.)
tR, y shuP, Radical No. 85, water. (See No. 79.)
shun3 Phonetic, a falcon, which always comes
to roost on one branch and is sure in its
movements, swooping on its prey. (W.
168 B.) ?fi is a contraction of Thus M
shun3, is taken as a sign of certainty.
Water tR or ice “is the most level sub¬
stance in the world.” Formerly iSp chun3.
was used as a symbol for weighing: the
scale pans were always (^ shun3) even or
level (*K shui3 or } ping*). This old
meaning is obsolete, and the present
meaning is certainly, or to allow. The
meaning to allow came about thus : when
one applies for permission to do a certain
thing, he must assemble reasons sufficient
to equal the reasons opposing this mode
of action before can obtain the desired
permission.
517
t'ari*, To chat, to converse.
yen2, Radical No. 149, words. (See No. 10.)
 179

yen2 Phonetic, flames rising. (W. 126 D.)

Flames that rise high. This is indicated,
f • as there is one fire above another. When
the radical If yen2 is added, the idea is
that in conversing words follow each
other, or pile up like flames, and one be¬
comes interested (warm) in the process.
(See No. 178.)
518
iUA k'ttng*, Lest, fearful.
hsiti\ Radical No. 61, the heart,
ft k'ung1 Phonetic, to take hold of, to undertake.
(W. 11 F.) From (abbreviated) ;
to take an instrument in the hand in
order to do work X kung\ When heart
hsin\ is added, the one who has under¬
taken a piece of work k'ung has
trepidation jfc. hsin1 lest he will be unable
to accomplish it.
519 4XU
huo4, Goods, wares.
pe/4, Radical No. 154, money, valuables. (See
No. 38.)
hua4, Phonetic, to change; A man changed to
fc. When R pei4, is added, the etymology
is goods which are to be exchanged for
money. Articles not for sale are not H.

520 jjtffc
hsi\ To regard, to love, to be sparing of.
hsin1, Radical No. 61, heart. (See No. 18.)
ih. hsi2 Phonetic, strips of meat dried in the sun.
13 ' ® (Ses No. 222.) These strips of meat ap¬
pear shriveled and worthless, but they
arc nutritious. With the radical for heart.
 jfi* hsin1 added the idea is : one should be
sparing in the use of the prepared meat.
(W. 17 J.).

shu\ To forgive, to excuse.

4> \
hsin Radical No. 61, the heart. (See No. 18.)
jjjj ju2, Phonetic, like. (See No. 325.) To speak
with womanly skill in conformity to the
circumstances, and the disposition of the
man (husband) she desires to wheedle.
When jfr hsin1, is added, the idea is to act
in accordance with the higher impulses of
one’s nature, or in harmony with the de¬
sires of the suppliant, i.e., forgive.

fu4, To return, to repeat. (W. 75 I.)

^ ch’ih* Radical No. 60, a step. (See No. 10.)
'jjT fu* Phonetic, to return to quarters. This
phonetic is derived from $ kuo1, walls,
fortifications. The seal writing o in the
center is the city, and the two smaller
circles,—one above and one below,—are
the gates, each surmounted by a tower.
In & the lower gate and tower are re¬
placed by % chih4, to walk single file.
With the addition of ^, nothing is added
to the meaning; thus the 60th radical is
here a redundancy. To return to quarters
was the original meaning.

mu4, A grave.
-f- t'u\ Radical No. 32, earth. (See No. 13.)
wv mu4 Phonetic, the sun setting; to disappear.
^ (W. 78 G.) The sun is seen through the
vegetation, It mang* setting in the west.
 181

When t’u3, is added, the idea is that the

corpse disappears in the earth,—is buried
in the grave.

wei4, Not yet, not. (W. 120 CJ

win4, Radical No. 75, wood. (See No. 36.)
The phonetic is a curved line in the seal
writing; and contrasting this character
with ^ mo*, the highest branches or
twigs of a tree, it may be that in ^ the
tree had not yet attained its full growth
In the top or end is emphasized —. In
^ it is small, hidden, not yet grown.

fezP, A grave, a tomb.

t’u8, Radical No. 32, earth.
fen* Phonetic, ornaments. (W. 78 F.) -ft huP,
vegetation, and K pei4, shells. Plants
and shells were the first articles used in
decorating. When ± t’u3, is added, it
means a grave. When burying the dead
the grave is more or less elaborately de¬
corated.

pei\ A stone tablet, a tombstone.

shili2, Radical No. 112, a stone. (See No. 42.)
peP, Phonetic, ordinary, mean. (W. 46 E.)
Originally this phonetic was a drinking
vessel which had a handle on the left side,
and which was held with the left hand .
There was another drinking vessel, the $$
H tsun\ this was used only for the sac¬
rifices, hence its meaning, honorable. (W.
47 C). The ♦pei1, was a common, per¬
manent thing, not something only seen on
sacrificial occasions. Hence its use with
 35 to represent a permanent tablet, cf.
No. 477. \

hsu&, To promise, to allow, perhaps.

•=|' yen2, Radical No. 149, words. (See No. 10.)
wu3, Phonetic, noon. (W. 130 A.) Chalfant
and Wieger give different explanations of
this symbol. Chalfant appears to con¬
form more nearly to the meaning imparted
by this phonetic. The seal writing repre¬
sents a noon mark drawn from the ridge
pole down through the gable. When the
shadow coincides with this mark it is
noon. When word m is added, the mean¬
ing is that ones words are exact and
will be fulfilled,—a promise which one
cannot depend on is no promise.

km\ Generally, for the most part. Original

meaning—a striker to level off the grain
from the top of the measure.
mu*, Radical No. 75, wood. (See No. 36.)
chi*, Phonetic, to swallow ; (modern meaning
—since, already). (See No. 507.) The
striker pushed off all the grain which was
higher than the top of the measure,—all
that cannot be held inside of the measure;
thus the idea of sum, general, average.

kuei1, Rule, custom. (W. 131 F.)

jE chien*, Radical No, 147, to see, to perceive.
(See No. 85.)
^ ful, Phonetic, an adult. This should be ^
shih*, an arrow (See No. 100) ; but owing
 183

to the seal writing of ^ /o' and jfc shih

being very similar (ifa fa1 ft shih') ^ was
substituted for Neither of these pho¬
netics has any phonetic significance, as
the character is old, having been in
use before the system of phonetics was
well established. The significance of the
original combination was: in order to
conform to rule one must act as when
practicing archery,—observe |£ the target,
and adjust the arrow according to re¬
quirements. To watch U the workmen
and keep them to the rules M.

huo2, laving, lively ; movable

7jC, Y shui3, Radical No. 85, water. (See No. 79.)
GB kao2 Phonetic, to hold in one’s mouth ; (W.
114 C.), abbreviated to 15- she2. This
phonetic comes from a different writing of
^ tis pronounced kuo2 fixed ; (see No.
257). In H kuo2 the -f* shih2 is deleted.
The idea is that something is permanent
in the mouth. When water was added
this formed the character for living. This
character showed that the physical con¬
ditions were early studied : they observed
that moisture in the mouth was a sign of
health and life. A moist 7jc tongue is
lively ^ is an easy mnemonic.

lueh*, Slightly, a little, in general, a sum¬

mary. Original meaning — boundaries
that separate every # ko4, field ffl t’ien?.
(W. 31 B.)
03 then2, Radical No. 102, a field, (See No. 82.)
 ^ ko*, Phonetic, each, every. (See No. 272.)
The original meaning of 0ft liieh4, was
logical; but owing to the tendency of the
farmers to encroach little by little on the
land of their neighbors, it has obtained a
new meaning, of few, slightly.

ai\ Exclamation of disgust, Alas !

n

k'ou3, Radical No. 30, the mouth.

a/4, Phonetic, artemisia, a plant. This phone¬
tic is made up of the two blades of shears
•X i* (W. 39 B) and +•* ts’ao3, grass. It is
used here with k’ou3 as a simple phonetic.

val, An interjection.
n Ifc

k'ou\ Radical No. 30, the mouth.

ya\ Phonetic, the teeth. (See No. 97.) It is
the 92nd radical. It is used here with
A’ou3 as a simple phonetic.

BALLER, LESSON XX.

t’o1, To cast off, to abandon ; to undress.

m*#

/on4, Radical No. 130, flesh ; (See No. 133.)

yiieh, tui*, Phonetic, to exchange, to barter.
Original meaning, to dispel grief and give
pleasure, (See No, 72) (W. 29 D). The
Shuo Wen does not explain this combina¬
tion, but if one recalls how pleasant it is
to throw off clothing when over warm it
may aid in the ^writing of the character.

yiieh*, To bind, a covenant, an agreement,

jfe ssu\ Radical No. 120, silk. (See No. 8.)
 185

Aj shad2, Phonetic, a spoon. (W. 54 H.) (See

No. G.)
The Shuo Wen is silent on this character.
In order to aid the memory as to its con¬
struction one should remember that at
the conclusion of a treaty or contract
there are presents of jfe silk and a feast.
shad2, spoon, stands for the feast.
536
chieh' or ke2, To separate ; divided by ; a parti¬
tion.
£.1$ iu*, Radical No. 170, a mound. (See No. 493.)
ke4 Phonetic, a large three-legged caldron ; a
statesman; radical No. 193. (W. 155
A.) This being large, it differed from or¬
dinary utensils ; and with the addition of
a radical which indicates lofty, it forms a
character which suggests separation or a
removal from the common class.

shan*, Good, moral. (W. 73 D.)

k’ou3, Radical No. 30, mouth.
This character, in its modern form, will
not break up into radical and phonetic.
Kang Hsi has used P k’ou* instead of M
yen2, word, for the radical. It had its
root in a character composed of two a
yen2 characters, i.e. fji ching\ to dispute.
It is now often written Wi: and when Y-
yang2 was written above H it implied
that harmony or good feeling was restor¬
ed after a quarrel. (See $1 i4, righteous¬
ness, No. 471.) As this character was
complicated it was abbreviated to its
present form by the scribes. One # yen2
18P>

has been discarded, and the seal writing

is partially followed in the one retained.
538
o\ Evil, wicked. Read mi4, it means to hate-
hsiri1, Radical No. 61, the heart,
jjjj ya3, Phonetic, ugly. (W. 82 H.) It is sup¬
posed to be two hunchback men talking
to each other. When heart is added, the
person's heart takes the ugly characteris¬
tics, i.e., evll„ wicked.

ch’P, He, she, it. (W. 70 C.)

A pa1, Radical No. 12, eight.
Ill *8" C^’J Phonetic, a sieve. (W. 70 A.) The
phonetic is a pictorial representation of
the object. In the seal character the
bottom part of this character is % mi4,
a stand, and not A pa1. This character
lost its original meaning, and is borrowed
for a personal pronoun.
540
peP, Grieved, sorry, sad.
'll' hsin\ Radical No. 61, heart.
feP, Phonetic, not. (W. 170 A.) Radical No.
175.
This combination is not explained in the
Shuo Wen, but the etymology is not
difficult to trace. It is something which
is not 0 feP, according to one’s desire ifr
hsin1 ; therefore it causes sorrow.
541
m shang1, To wound, to injure, distress.
^.A jerP, Radical No. 9.^ a man.
shang1, Phonetic, to wound. (W. 101 B.)
vn To wound with a spear. $§ shang1 was
the original writing. The yang2, —
 187

which means to expand, glorious, the rays

fy] of the sun, rising above the horizon J3
JU — was phonetic.
Now all that remains of the ^ shih", are
the two strokes, a- above §, yang1, the
radical A jen2, takes its place on the
left.

she*, To forgive, to pardon.

ch'ih*, Radical No. 155, a reddish carnation
color. (W. 60 N.)
It is composed of A ta*, a man, and A
huo3, fire. It may mean the blush of
shame, or it may mean the flush of anger.
p’u1 Phonetic, to rap, to tap (W. 43 D.) The
right hand holding a rod. It is the
66th radical. It has here no phonetic
significance. It generally indicates action.
Here it may indicate the red, which an
official marks on a petition for pardon
when the petition is granted, to strike Jt
red to pardon jfcfc.

mien3, To avoid, to escape, to remit, to for¬

give. (W. 106 A.) (See No. 107.)
JL jen2, Radical No. 10 man.
This character does not break up into
radical and phonetic. It is old, and ac¬
cording to Chalmers it represents a man
trying to hide himself by drawing himself
into his clothing, thus avoiding beiug
seen.

544 Ml JSr ch’iJ, An interrogative particle. (W. 165 E,)

ISL
It is a drum (not & ton*, a dish, although
 the writing is identical) which was beaten
with the left hand. The drum which was
beaten with the right hand was written
thus Sj. The upper stroke is the drum
head, the ° is the drum, and the the
stand. Observe the character g* tap,
foolish. A dog is beside himself when a
drum is beaten. As this character has long
since lost its original meaning, owing to
this kind of a drum being discarded, the
character has been adopted for the above
meaning.

kan3, To dare, to venture. (W. 146 H.)

pV Radical No. 66, to strike.
The phonetic is a bear & fg neng1,
able, is a bear, and the right part of
the character represents the paws. (See
No. 357). But in Wi the paws are sup¬
pressed to make room for the radical; a
person who has the courage t© strike a
bear, therefore brave.

chP, A foundation ; property.

t’u3, Radical No. 32, the earth.
ch'P, Phonetic, it. (See No. 539.)
The Shuo Wen does not treat of this com¬
bination. As ± t’u3, earth, is below 'M
ch’P, it may be that the inventor of the
character intended to show that the earth
beneath it (a structure) is the foundation,
or the place Where the foundation must
be laid ; its earth

tul, To oversee, to superintend.

 189

@ © /nil4, Radical No. 109, the eye. (W. 158 A.)

In the oldest writing two eyelids and the
, pupil are represented ; later the pupil was
suppressed.
shu2, Phonetic, to collect ^ beans /ft. The
character is supposed to represent a stalk
?ft of beans with two pods attached. This
meaning is now obsolete. With the addi¬
tion of B mu* it implies that there is a
person who oversees the bean picking ; and
the character now is used to mean over¬
seer, and is borrowed for uncle, a father’s
younger brother.

kuai*, Strange, to blame.

-C\ t hsin1, Radical No. 61, the heart.
kuai4 Phonetic, to till the ground, a hand %
over the earth i. (W. 81 A.)
The produce of the ground when tilled
struck the ancient Chinese as remarkable,
and when the radical heart ifr is added,
the character is used to convey the idea
of strange or abnormal.

shu\ A comb.
mu4, Radical No. 75, wood.
t’u2 Phonetic, a child being born, with long
hair. (W. 94 F.) From * (W. 94 E);
the birth of a child, head presenting: the
most favorable position. In the above,
hair is added, and it is the striking part
of the character. With the addition of
the radical for wood mu4, it forms the
character for comb, as combs in China
are made of wood. 3? = -F inverted.
 she3, To give alms, to bestow, to part with, to
reject.
*- "T shota3, Radical'No. 64, the hand. (See No. 53.)
she*, Phonetic, a cottage. (See No. 40.)
When the radical for hand is added, it
forms the character to give. Beggars go
to houses in order to get food.

ming*, Life ; fate ; destiny ; a command. (W.

14 I.)
P k'ou3, Radical No. 30, the mouth.
^ ting** Phonetic, an order, a law. (See No. 61.)
When the order is stamped it is
published or made known P ; an order
or command by word of mouth.

ch'iian1, Entire, perfect, all, the whole. (W.

15 B.)
A M Radical No. 11, to enter. (See No. 35.)
As this character has been placed under
A ju*, it is not now possible to break it
up into radical and phonetic. The more
plausible explanation is that it is compos¬
ed of A chi and 31 kung1. It is also writ¬
ten £ and the work X has been com¬
pleted A. In making a chair or other
article, when all the parts were finished
and put together A the article is finished.

i ymg1A, Ought, proper, respond, fulfill.

'!> hsin1, Radical No. 61, heart.
/Jjg ying\ Phonetic, the falcon, now written it
(A . 168 J.) It is made up of jT yeri\ a
house - here indicating domesticated - and
ffi chui1 and A. jen2: a tame bird which
 serves man. These birds have long been
used for hunting small game. With the
addition of heart the character means ;—
to answer, or obey, to do what one feels
is proper. This meaning is placed on
the character as the falcon fulfills the de¬
sire of its master in seizing game.

lo\ Buddha.
A jcn\ Radical No. 9, man.
fti1 Phonetic, not. (W. 87 D). Two bent
^ rods or bows so tied together that their
force is neutralized ; therefore they stand
for not. This combination not man A
may have been selected by the Buddhists
in order to emphasize that Buddha was
a supernatural being. Another writing is
13 - ® ® A Western man.

ycJf, A final particle. (W. 146 E).

er \ Radical No. 128, the ear. (See No. 71).
« g i4, Phonetic, a city. (See No. 11). No phone-
** tic value. This character is said to be %
hsieh2 arbitrarily changed. It originally
was the name of a city in the eastern part
of Shantung. It now means depraved,
erroneous. At present these two charac¬
ters are entirely distinct IP is only used as
a final particle.

sw1, To glean, to revive. (W. 121 D).

ho\ Radical No. 115, growing grain. In the
seal writing the ear or head of grain is,
owing to its Weight, hanging to one side.
(W. 121 A.)
192

^ yu\ Phonetic, a fish. This is radical 195.

(See No. 284). There is no explanation
of this character which throws any light
on its etymology. To the present day
gleaning after the field is reaped is an im¬
portant affair in the rural districts. It is
possible that formerly the fishermen left
the small fish after they had removed from
their nets the larger ones, but the present
custom is to remove every thing for them¬
selves. Both fish $ and crops $ when
dying for lack of moisture may be revived
by water.

ch'ieh\ To cut, to slice. (W. 33 A).

J] tao1, Radical No. 18, a knife.
ch'i1, Phonetic, seven. (See No. 32). This
may have been selected as the phonetic as
the permanent, incisor teeth appear about
the seventh year and these are the cutting
teeth.

BALLER, VOCABULARY NO. IV.

p’/ng-2, A vase, a jug, a bottle.
E.5. ira3, Radical No. 98, earthen ware. (W. 145
A). Chalfant on Plate XIV, has a very
plausible explanation of the origin of this
radical. He believes it to be a pictorial
representation of the tiles on the roof.
Originally written and afterward
changed to p .\
ping*. Phonetic, two men with shields, march¬
ing side by side, even, united. Simple
phonetic. (W. 115 P>.) (Sec No. 235).
 193

559 iV liang4, Clear, luminous, bright. (W. 75 C).

_l» t’ou2 Radical No. 8, a cover or roof.
This character has been given a radica
which prevents its being divided into
radical and phonetic. There is an old
writing ^ and it is thus explained
The men A at the capital, ; those who
are advisers to the Emperor, are more
enlightened than other men. The present
writing of the character is relatively
modern, the upper part is from iff kao1,
high, referring to the capital and man is
substituted for the lower P in kao\ The
etymology is the same as that of the older
writing.

560
ping1. Soldier, military. (W. 47 D).
pa1, Radical No. 12, eight.
r*. chin1, Phonetic, an ax or battle-ax. (W. 128
** A). The lower part of H is not pa1 but a
contraction of H fc kung* thus in the seal
writing two hands are wielding a battle-
ax.

t’ui1, To push; to shirk ; to refuse.

shod, Radical No. 64, the hand.
chui1 Phonetic, a short tailed bird. Radical
No. 172. (See No. 21). The Shuo Wen
is silent as to the etymology of this
character; but it may be that it was sug¬
gested by poultry raising. When the feed
trough is surrounded by those first on the
spot, the tardy bird pushes and shoves
until it reaehes the desired place.
 194

ts’aP, Material, stuff.

mu*, Radical No. 75, wood. (See No. 36).
ts’aP, Phonetic, talents, power, genius. This
phonetic originally was used for material
suitable for building, but gradually it
was adopted for its present meaning.
The upper horizontal stroke in the seal
writing, indicates the large branches
of a tree: the second horizontal stroke is
the ground (W. 96 A). A tree when of
proper size for building purposes is spoken
of as # t’sai2, before it attains to that
distinction it is referred to as p’j'3
ch'aP, fire wood. Financial power is
t'saP. Wood was one of the first sub¬
stances ^ worked upon by man.
563
mM shou2, Ripe ; experienced ; versed in ; cooked ;
intimate.
!M, huo3, Radical No. 86, fire. (See No. 47).
Wit shu2 Phonetic, who, which, what; but origin¬
ally, a lamb of proper size and condition
for roasting. (W. 75 E). The right side
of the phonetic %, chi4, implies holding
the animal. (See No. 139) J[, Ch’un2
is a lamb large enough to be offered as a
present 0, to a superior cT. The writing
has been contracted to the present form.
(W. 75, E). With the addition of »» fire,
the idea of cooked is set forth.
564
ku\ A girl.
»nii3, Radical No. 38, a woman. (See No. 16).
ktP, Phonetic, old. (See No. 17). This is a
 195

simple phonetic. (W. 24, F). It is not a

fortunate combination for “ girl” in a
country where, formerly, a girl twenty
years of age and unmarried was almost
unheard of.
565
m niangz, A girl, a woman, a mother.
ni/3, Radical No. 38, a woman. (See No. 16).
Hang2, Phonetic, good. (See No. 445). Because
this phonetic sets forth respect, dignity and
sagacity its combinations also partake of
same. Mother is a good H woman ^C.
566 ^
^ shih1, To lose ; to slip ; to err.
^ ta4, Radical No. 37, great. (See No. 113).
This radical was arbitrarily given to the
character and has no further use than to
aid in looking it up in the native diction¬
aries. In the ancient writing a hand is
seen with the T i4, which indicates slip¬
ping away or shooting. There is no re¬
semblance, in the ancient writing, to an
arrow ^ as there is in the modern form.
This is an old character and it has no
phonetic. (W. 48 B).

chang\ To rely on ; to fight.

A kjcn2, Radical No. 9, man.
changAy Phonetic, ten feet. Under the Chou
3fc,^ Dynasty this was about six and a half
English feet. When a man A is accom¬
panied by a person of over six feet in
height (revised measurement), it gives
assurance of not being molested. (^. 32
F). One can rely on fi a ten foot ^ man
A to fight {£. (W. 24 E).
196

568 tiao*, Material; ingredients; to estimate.

^ ton8, Radical No. 68, a peck measure, a dip-
per. (See No. 117).
mi8, Phonetic, rice, used of other grains. (See
No. 47). The phonetic has no phonetic
significance. Grain is measured with a il*
ton8, but chaff and straw, on account of
their being of less value are not thus
measured. According to the make up of
this character materials of worth are
liao\ (W. 98 B).
569 n Jli
\pt, |«| kung*, Public ; fair, just; male.
/V Pi P3*’ Radical No. 12, eight. Because the two
parts of this radical, in the old writing,
are similar in construction and are not
united, it was early adopted as the symbol
for separation.
Mi, d> ssu1 Phonetic, private. The ancient writing re¬
presented a silkworm which has shut
itself into its cocoon. By extension it
was used for private, selfish. (W. 89 A).
This symbol has no phonetic value. The
character & implies the right division A
of private U property for the benefit of
the public.

t’u841, To spit, to vomit.

W, O k*ou\ Radical No. 30, the mouth.
tV, Phonetic, the soil, earth, place, local.
From mouth P to the earth db, to spit.

571 DC \

^’an8, To hack, to chop ; to throw stones at.

>D shih\ Radical No. 112, a stone. (See No. 42).
 197

Kli ch'ieri\ Phonetic, to breathe out. (See No. 273).

' This character may date back to the
, stone age when axes were made of stone.
If so the combination of radical and
phonetic is appropriate ; with the steel ax
choppers often make audible expiration
with every stroke ; how much more diffi¬
cult would chopping be if a stone ax were
used !
m£ng*t To dream; a dream.
A} p hsi14, Radical No. 36, evening. (See No. 14).
« meng* Phonetic, dimness of vision. The g mvA
*” ’ at the bottom of this phonetic is replaced
by $ hsi1, evening, as dreams belong to the
hours of sleep or the night. (W. 158 F).
Dreams are frequently hazy and indefinite,
consequently this combination of elements
is not inappropriate.

ts’ai2, Property.
H Q pei\ Radical No. 154, precious. (See No. 38).
t -t ts'aP, Phonetic, talents, powers, genius. (See
No. 562). This is a happy combination
of radical and phonetic as it portrays the
idea of ability in the financial line.

Pan1, To covet; avaricious,

ft pei4, Radical No. 154, precious. (See No. 38).
^ chin\ Phonetic, now. (See No. 18).
The emotion of greed which is excited in
the presence ^ of valuable H articles.
(W. 14, M). The phonetic in this char¬
acter is the same as in No. 18, ^ nien ,
and its rather unusual meaning of present,
is the same in both instances.
 198

575 mien*, Flour.

mai4, Radical No. 199, wheat, barlev. This
radical is made up of lap, which origi¬
nally was the character for barley, (See
No. 64), and ^ suP, a man who persists
in advancing in spite of trammels and
obstacles. This may have been added to
indicate the gradual development of the
grain.
mien4, Phonetic, the face. (See 486). Its use
here is as a simple phonetic.
mien4 Phonetic, to conceal. (See 122).
576
shih4, A form, a pattern.
P Radical No. 56, a dart. This radical is not
looked on alike by all scholars. Some are
of opinion that it represents a nail or peg
in a wall on which articles may be hung.
Still another theory is that it is a tally for
counting or ordering; when this tally was
placed upon an article, this article was the
pattern. Each of these explanation has
its advantages, but no one comes up to all
requirements. It seems wise to adhere to
the first explanation and regard it as a
dart, as these must have been very plenti¬
ful, owing to the state of civilization, and
it is not improbable that they were used
as tallies and as pegs. (W. 71, A).
kung4, Phonetic, work. No phonetic signifi¬
cance. (See No. 89). Here the most
plausible explanation is:—a dart, used for
a peg on which is suspended a pattern of
the article ordered.
 199

577 yang2, The sun ; open, front.

i|L [5 fu* Radical No. 170, a mound. (See No. 493).
yang1 Phonetic, glorious, open out, a flag ; the
sun above the horizon J3 tan.4 % wu1,
rays of light. This is a suggestive
phonetic. (W. 101, B).
578
cA’u3, To marry.
$| niis, Radical No. 38, a woman. (See No. 16).
ch’iis, Phonetic, to take. A hand ^ holding
an ear 3. To hold by the ear, to hold
securely. A betrothal in China has been
regarded as more binding than the mar¬
riage ceremony in many lands. (W.
146 F).
579
m- jung2, Appearance; to allow ; to endure.
mien2 Radical No. 40, a roof.
>v> kuz 4 2, Phonetic, a deep gorge, a valley. This
is the 150th radical. The old writing
depicts two strata or ridges of rock, one
above the other and at the bottom a
mouth, a place where water flowed. This
valley is open and one can see all within,
but in ^ jung* there is a cover over the
valley. Here the valley is said to refer to
the depths of the heart, the emotions
which are concealed from others. Thus
the idea of to contain and to allow is
given the character. (W. 18 E).

t’a?, A terrace ; a title of respect.

3* 2 ^kih*, Radical No. 133, to arrive. (See No.
337). The phonetic part of this character
is M kao1 and Z ± chih\ The former
 is changed both at the top and bottom,
on the top the chih1 is placed, which
indicates the summit, and 3E chih4 replaces
the O at the bottom. This character was
constructed before they had definitely
settled on the scheme of radicals and
phonetics, iSi kao1 and ;£ vR chih1 both
suggest height but neither aid in pro¬
nunciation.

to9, A cluster, a head, pendent things.

JK mu** Radical No. 75, wood. (See No. 36).
shu2 Phonetic, a wing, which on account of
its being short, vibrates rapidly while in
flight. (W. 22. A). This is without
phonetic significance but it suggests the
movement and appearance of pendent
flowers in the wind. The modern writing
is identical with 75 naP.

ch’i1, A wife.
nip, Radical No. 38, a woman. (See No. 16).
The phonetic part of this character is not
used alone # and it is not given a pro¬
nunciation. It is a hand holding a duster.
It is not an old character. The hand that
manages the household affairs is the wife.
The present form is a contraction of an
older writing.

shan4, A fan ; the leaf of a door.

htP, Radical No. 63, \a door, a window. (See
■No. 480).
^ ^ * Phonetic, wings, plumes. It is a repre
sentation of a pair of wings or two wing
 quills. (W. 62. E). In appearance it is
suggestive, but without phonetic signifi¬
cance. A fan or the leaf of a door re¬
sembles a wing in that its attachment is
at one extremity or side and has a vibrat¬
ing movement.

ch'uang1, A window.
©»>}

hsiieh*, Radical No. 116, a cave. (See No. 97).

ch’uang1 Phonetic, a window. Therearetwo
forms of the ancient writing, one seems to
be partly covered by a curtain or shutter
and the other has lattice work within.
The make up of this character indicates
that it dates back to the time when caves
and dugouts were in general use.

tz’u2, Compassionate.
hsiri1, Radical No. 61, the heart. (See No.
18).
^ tzii1 Phonetic, the fine velvety appearance of
luxuriant vegetation. All this disappears
if covered by dust or if there is a shortage
of rain. With the addition of heart the
above beautiful qualities are transferred
to the disposition. Compassion is that
quality of heart which is admired by all,
but is easily lost owing to the cares and
worries of life.

ts'ungx, Wisdom, quick of apprehension, clever.

er3, Radical No. 128, the ear. (See No. 71).
ts’ung1, Phonetic, the feelings stirred. When
one is fearful of being apprehended he is
constantly looking out of the window |Q to
202

see if the officers are coming. (W. 40, D).

With the addition of the radical ^ er8, the
idea is to listen with the same vigilance
that a criminal uses in trying to elude
arrest. The combination is fortunate but
difficult of application at all times.

BALLER LESSON XXI.

587;
hsiang1, Incense, fragrance. Radical No.
186. There are two seal writings of
this radical. The oldest is explained as
representing the sweet odor of millet when
undergoing fermentation. The other re¬
presents millet held in the mouth because
the flavor is agreeable.
588
lien2, To pity.
1*, '0 hsin1, Radical No. 61, the heart. (See No. 18).
Phonetic, an ignis fatuus. This phonetic
has been unfortunately changed so that
the original idea is not portrayed by the
present writing. It should be The
light is supposed to be seen on old battle¬
fields and is the result of the mingling oi
the blood of meii and horses. The light is
indicated by ^ ^ yen2, one fire above
another. The battle is indicated by
ch’uan*, to contend, as two persons are at
variance. With the addition of heart,
the character represents the emotion oi
pity that one would experience on seeing
an ignis fatuus if he believed it was caus¬
ed as above stated. (W. 126 D).
 203

chiu3, Wine, spirits.

Y shuP, Radical No. 85, water. (See No. 79).
J3§ ^ vu3 Phonetic, a jar for holding liquors. The
old writing is not a bad picture of these
jars. When water is added to the
phonetic the character is used for all
spirituous beverages. (W. 41 G).

hvP, A lake.
shuP, Radical No. 85, water. (See No. 79).
hu2 Phonetic, dewlap. This phonetic is made
up of old # ktPi and /J jotP, meat. The
dewlap is made up of a fold in the skin
and is tough, hence the idea of old or
tough is fitting. Its use as a phonetic in
this character is rather far fetched, but
when the dew on the grass is heavy the
dewlap of the ox plows through it and is
wet like the prow of a vessel in a lake.

hsia1, Blind.
§ mu4, Radical No. 109, the eye. (See No. 102)*
^ hai*, Phonetic, to injure. (See No. 436). This
phonetic has no phonetic signification, but
it indicates why the eye is blind, that is, it
had been injured.

lung\ Deaf.
If er\ Radical No. 128, the ear. (See No. 71).
m f | lung2, Phonetic, the dragon. (See No. 286).
0B, The 3ragon is supposed to be deaf and
with the addition of the radical we have
a dragon’s ear, or a deaf ear.

t'cng\ Pain, to pain, to ache.

ni4 Radical No. 104, disease. This is in the
ancient writing the representation of a
bed with a horizontal line at the top to
indicate the posture of a person when ill.
The dot on the top of this line has been
arbitrarily added by the scribes.
tung1, Phonetic, winter. (See No. 170). This
is a suggestive and very appropriate
phonetic as the pain which is experienced
from cold is very intense and there are few
persons who have not experienced it.
Pain being a pathological manifestation
the above radical is also a happy se¬
lection.

ctiiieh2, Lame.
Radical No. 104, disease. (See No. 593).
chia1, Phonetic, scabs and ulcers. This phonetic
is not found in most modern dictionaries.
The idea of a swelling is set forth by an
addition M chia1 of flesh & you4. Most
lame joints are swollen and enlarged.

fuP, The leg, the thigh.

you4, Radical No. 130, the flesh. (See No. 133).
t’u/4, Phonetic, to retreat, to decline. The
idea of to retreat seems to be derived from
the apparent movement of the sun, % each
morning it slowly £> ascends until midday
and then slowly recedes. This is not like
Wieger’s description (W. 31. C). The
162 radical added to the phonetic is a re¬
dundancy as it contributes nothing. The
limbs in walking go through the same
movement, each one is one half of the
 205

time advancing and one half the time ap¬

parently, receding.
596
shang3, To reward, to grant; a reward.
^ pei4, Radical No. 154, precious. (See No. 38).
shang4 Phonetic, a house. (Archaic meaning).
(See No. 52). Houses, which includes real
estate, and money pei* are here used to
represent all that is of value or what
would be appreciated as a reward.
597
tz'u*, To bestow, to confer on an inferior, to
give,
pei*, Radical No. 154, precious. (See No. 38).
i*, Phonetic, to exchange. It is supposed to
represent the house lizard, a creature
which is agile and moves with great
rapidity. Some think that the idea of
“ to change ” is dependent on the crea¬
ture’s changing its colour to that of the
object on which it rests. The lizards in
North China have this power to a certain
extent, but it is not noticed when the
animal is in the house. With the addition
of the radical we have the idea of giving,
that is exchanging articles of value. If
the giving is always on one side it sooner
or later ceases. (W. 101 C).
598 Wt
tsai1, Calamity, divine judgment.
^ Ijl huo\ Radical No. 86, fire. A representation
of a flame in the old writing.
{{{ J|| JM ch'uan1, Phonetic, streams. It represents a
stream which is formed by the union of
other streams < \ chuan* is a small
206

stream; {{ \\ kuai4 is a stream which is

formed by the union with another stream.
The overflow of rivers is one of the great
calamities of China.
Fires are not very common in North China
but at times they cause great loss of pro¬
perty ; and <« floods and iK fire make up
the character which stands for divine
judgment; as these are regarded as cala¬
mities sent from Heaven.

hsien2, Leisure, idle.

men2, Radical, No. 169, a door. (See No. 5).
yiieh4, Phonetic, the moon. (See No. 43).
The moonlight coming in through the
cracks of the door and doing nothing is
taken as a symbol of idleness or leisure.

A’o4, A lesson, a task.

f|| yen2, Radical No. 149, a word. (See No. 10).
jEjl ^ kuoz, Phonetic, fruit. (See No. 411). To so
use ones opportunities that the instruction
m yen2 received may bring forth results, ^
kucP.
601
clung1, To plough, to till.
^ leP Radical No. 127, a plough. The old writ¬
ing resembles a harrow more nearly than
it does a plough. It probably was a tree
with branches so cut as to scratch fur-
roughs in the earth. (W. 120 E).
^ ching3, Phonetic, 'a well. A very necessary
part of a farmer’s equipment in North
China where irrigation is required for
many kinds of agriculture. Breaking the
 207

ground and watering is the symbol for

cultivating or tilling the soil.
/ 1
hanz, To call, to halloo.
P ic’ou3, Radical No. 30, the mouth.
hsien2 Phonetic, to wound by biting, all. (Ar¬
chaic). (See No. 305). With the addition
of another mouth the meaning is changed
from biting to calling.

cA’u2, To remove, to do away with, to sub¬

tract, to discount.
|$ hi* Radical No. 170, a mound. (See No. 493).
Itv Phonetic, I, me. (See No. 40). With the
addition of the radical which means lofty
the meaning of the character can be re¬
membered by the following :—If one extols
or elevates himself he is sure to be dis¬
counted.

chung3, Seed ; a class or kind.

ho2, Radical No. 115, grain, grain on the stalk.
(See No. 556).
chung*, Phonetic, heavy. (See No. 22). The
heavy end of the stalk ^ ho2 is where the
grain W. is found.

chuang1, Serious; a farm.

ts’acf Radical No. 140, grass. (See No. 22).
'chuang*, Phonetic, strong. (See No. 355).
With the addition of the grass radical the
character is used for a farm or serious.
The latter meaning is difficult of explana¬
tion, but the first might be explained as
208

the strong luxuriant vegetation, -n-

ts’ao3, of 9. well ordered farm.

c/2/a4, Growing grain.

ho2, Radical No. 115, grain, growing grain.
(See No. 556).
He C&V, Phonetic, a family. (See No, 221).
With the addition of the radical it implies,
crops for the family or household.

shengx, A measure equivalent to one tenth of a

4* % touz a peck, to promote. The old
writing of this character is similar to the
writing of the character for peck save that
it has an oblique line across the handle.
This line / / ph’efi, is supposed to indi¬
cate that one tenth part of the tou3 has
been taken out. (W. 98 B).
"1 shih2, Radical No. 24, ten. This by some is
regarded as a contraction of two con¬
tracted fives ^.
^ ton3, Phonetic, a peck. This has no phonetic
significance, it only aids in explaining the
meaning of the character in the old writ¬
ing. Why shGng1 has the meaning of to
promote is not easy to understand, unless
this measure, being the smallest in com¬
mon use, any change is necessarily an
increase or promotion. (W. 98 B).

h2, A plough, to plough.

niu2, Radical No. 93, an ox. (See No. 50).
?flj 1* ’ Phonetic, to cut grain, (archaic); profit.
Standing grain and sickle was adopted as
the symbol for, to reap. The addition of
 209

ox forms the character for plough as that

animal was used for pulling the plough,
the use of which was a necessary step
before reaping. (W. 52 F).

BALLEK LESSON XXII.

sheng4, Remainder.
a pci, Radical No. 154, precious. (See No. 38).
Hjpi cheng4 Phonetic, to curve with fire the planks
for a boat H. In this process the plank
was partially destroyed by the fire before
it could be bent into the desired shape, but
that part of the plank which remained
was now adapted to the requirements.
By adding the radical K, precious, the
idea is set forth that remnants Hft are of
value. The # chou1 boat has been con¬
tracted to H in the modern writing.

sheng4, To conquer, to excel.

j] ti4, Radical No. 19, strength. (See No. 212).
m 4
cheng Phonetic, to curve with fire the planks
for a boat. (See No. 609). In the pro¬
cess of bending the planks the strength
of the fire plus the strength j] of the work¬
men’s hands overcomes the resistance
of the plank, thus with the addition
of the radical for strength, the character,
to conquer is formed. (W. 47 J).

k*ex. A class, a series.

^ ho1. Radical No. 115, grain, standing grain.
(See No. 556).
4^ tvus. Phonetic, a peck measure. (See No. 117).
210

It is without phonetic value, but suggests

the idea of the coiner of the character. In
measuring' 4- ton3 grain ho~ each kind
was stored in separate bins, and thus the
idea of class is set forth.

fei1, To fly. Radical No. 183. This radical is

the representation of a crane in flight; the
neck is folded on itself and the long bill
rests on this fold. The pinions are seen
on either side. The body and tail are re¬
presented by the straight line in the
center. (W. 11 A).
613
chiao\ To commit to, to hand to, friendship,
intercourse. (W. 61 D).
t’otf* Radical No. 8, above. Kanghsi says that
the meaning of this radical is lost. The
meaning “ above ” has been given it be¬
cause it is always used at the top of a
character. The original or old writing
did not have this radical; in the modern
writing it is arbitrarily introduced.
fa*, Phonetic, father. This phonetic is also a
modern innovation, having no connection
with the original writing, which repre¬
sented a man sitting with crossed legs,
thus each limb is occupying the place of
its fellow. From this the idea of “to
commit to or to hand over is obtained.
614—1
£.sk.!U chih1 He, she, it; sign of the possessive,
y p’ieh1 Kadical No. 4, a stroke to the left. (See
No. 176). This radical having been ar¬
bitrarily given it destroys the original
 m
idea of the symbol; which was a small
plant y issuing from the ground —. The
need of a character for the above process
not being great, and owing to its being
easy to write, it was adopted to represent
the meaning given above.

chieh*, To make a contract; to produce, as

fruit; a knot.
ffH-Sfr

ssu1, mi*, Radical No. 120, silk. (Sec No. 8).

chP, Phonetic, fortunate, lucky. This phonetic*
is made up of it shih*, which often is used
for =4* shih* in the archaic writing, and p
Jf’ou3 the mouth. To announce a fortu¬
nate affair or condition. It seems reason¬
able to believe that this phonetic has been
abbreviated from j§[ chieh’', to be level head¬
ed. ^1 chieh2 is another writing of knot.
The abbreviated phonetic has as happy a
meaning as the older form but does not
aid in determining the pronunciation: —
When a thing is fortunate make it secure.
The addition ol the radical & often im¬
plies tying or making secure. (W. 24 C).

huo\ Numerous, a company, an associate.

hsi* Radical No. 36, evening.
(See No. 14).
The radical should be doubled ^ to' many,
as its use here has no reference to the
evening or new moon but to many or
much. (See No. 184).
^ kuo3, Phonetic, fruit. (See No. 411). When
to* is combined with this phonetic the
idea of much or many is brought out; as
numerous as the fruit on the tree.
 chi*, A plan, a device, all told, to reckon.
yen2, Radical No. 149, a word. (See No. 10).
shih2, Phonetic^ ten. The oldest form of ten
seems to be a contraction of two con¬
tracted forms of five ; this was after¬
wards contracted to f and as this was
difficult to make it was finally written in
the shape of a cross. This is an old char¬
acter and the phonetic only explains an
idea without aiding in pronunciation. If
a person can count ft yen2 up to ten -f*
they are able to reckon, to plan.

ch'ang2, To taste, to experience.

|3 k'ou9, Radical No. 30, the mouth. (See No.
17). This selection of the radical is un¬
fortunate as it is taken from the phonetic,
jljjj shan<f , Phonetic, a house. (See No. 52).
This should complete the character,
but in the present instance the important
or distinctive part is not yet touched,
if, & chi If, something pleasant to the
taste, that which is pleasant to hear, as
the edict of the Emperor. The fc pi8,
may be regarded as a spoon and the
lower part in the old writing is -ft kan1,
something agreeable to the taste held
in the month, hence to taste. It is
fortunate that few characters in their
transition from the old, to the new writ¬
ing, have undergone such destructive al¬
terations. (W\ 26 K).

chien8, To select, to pick up.

^ shotIs, Radical No. 64, the hand. (See No. 53).
 213

c/hen3, Phonetic, to select, to choose. This

phonetic is made up of 3ft, $ s/2114, a bundle
tied to or hung on a tree ; to this is added
A pa\ eight, written, one stroke on either
side of the bundle, to indicate that it is
opened or divided. (See No. 569). (W. 75
A). With the addition of the radical for
hand the act of selecting is more emphatic¬
ally brought out.
620
pat,To ruin.
Tjr Jr* ^ pul Radical No. 66, to tap, to rap. (See No.
17)

pei4, Phonetic, precious. (See No. 38). The

object of this combination is evident viz.,
the result of hammering sea-shells is their
destruction.

chiang*, To descend.
hsiang*, To submit, to surrender.
|$ /la4, Radical No. 170, a mound. (See No. 493).
^ chiang*, Phonetic, to subject. (W. 31- F).
This is the 34th, radical £ chih*, a man
overtaking another, written in two ways,
above it is upright, the usual writing, and
below it is inverted. The idea of the
combination is, a suppliant overtakes a
man and prostrates himself in token of
subjection. The meaning ot to descend is
set forth in prostration or inversion of the
suppliant. The meaning of to submit is
the above idea carried a little farther#
prostration implies submission or sur¬
render. Wieger puts this character under
the 35th, radical. The radical ft fa*
214

added to this phonetic simply complicates

the writing and as to etymology, it is a
redundancy.
622
«? Vulgar, common.
4.A jen7, Radical No. 9, a man.
ku3, Phonetic, a valley, a ravine. This is
composed of two A pa1 characters super¬
imposed one above the other which indi¬
cates a gorge of great depth, below is P
k'ou which stands for a water-course.
(W. 18 E). The addition of the radical
implies that the man is a rustic from the
ravines or mountains, uncouth.
623
yu7, Like; undecided ; still.
% cA’uan* Radical No. 94, a dog. (See No. 424.)
In modern writing, when used at the left
of a phonetic, the present form is used in
order to occupy less space.
[fljj ^ chiu1 Phonetic, liquor. A. liquor after fermen¬
tation is completed and the dregs have
settled, divided A pa1. If the Chinese,
colorless liquor were placed before a
thirsty dog X the resemblance to water
is striking, but the odor would cause him
to hesitate about drinking. (W. 41 G).
624
Vo1, To support with the hand ; to com¬
mission.
^ shoti3, Radical No. 64, the hand. (See No. 53).
^ Vo Phonetic, a plant just appearing above
the ground bearing the cotyledons. The
stalk seems often too delicate to support
these first leaves and on this account they
 215

attract attention ; thus the idea of to sup¬

port is set forth by this phonetic. When
the radical for hand is added the meaning
of to support is changed from the plant to
the hand. (W. 33 B).

c/ms, A rule, a pattern, a custom. (W. 82 D).

^ shih3, Radical No. Ill, a dart, an arrow. (See
No. 100).
chu4 Phonetic, a square. This is an instrument
larger than the X kung1, the ordinary
square. The square was the guide when
building or laying out a plot of ground.
When ^ shih3 i9 added it indicates, ap¬
pointed, determined, irrevocable. This
meaning is derived from archery ; after the
arrow is shot one knows the skill of the
archer, as its position on the target
cannot be changed. Thus this combina¬
tion is used for established custom.

fa3, The hair of the human head.

JU jgjj piao1 Radical No. 190, hair, shaggy hair or
locks. In the old writing it is the same
as ^ ch'ang2, long, save three strokes ^
are added on the right, these represent the
long locks. (Cf. No. 131.)
M.i$ pa2 Phonetic, a dog led by a leash, by a strap
behind the shoulders and in front of one
fore leg. During the Manchu rule, prison¬
ers were led by their cues. This practise
may have been handed down from the
dim past as the Chinese have long worn
long hair, dressed in different styles as the
dynasty determined. The long braided
 hair looks like a leash and thus the
phonetic was adopted. (W. 134 A).

ch'iao3, A sparrow or small bird.

chui1 Radical No. 172, a short-tailed bird.
(See No. 21).
hsiao?, Phonetic, small. It is made up of A
pa1 eight, to divide. The idea of to divide
is given to this numeral because in the
seal writing the two parts are identical
and they do not touch, thus they suggest
division. Between these two parts there
is a vertical line. This is an object which
is to be divided and as that will make it
smaller, this combination is used for small.
Add to this the radical for short tailed
bird and the sparrow family has an ap¬
propriate appellation. (W. 18 N).

^ niao3, A bird. Radical No. 196. A pictorial

representation of a long tailed bird.

BALLER, LESSON XXIII.

/hr, To flow, to drift.

s/m/3, Radical No. 85, water. (See No. 79).
t’u" Phonetic, a fetus in the easiest position
for delivery, viz., a head presentation.
This is similar to Jc t’u2, the delivery of a
child, save the present phonetic depicts a
child with long flowing hair. With the
addition of the above radical the character
is used for, the current or the flow of a
river. (W. 94 F).
 217

kuan*, Accustomed to, practised in.

hsin', Radical No. 61, the heart. (See No.
18).
kuan\ Phonetic, long strings -W* huati4 of cow¬
ries, H pei\ to pierce, to tie, to string. The
sea-shells were kept on a string and only
opened when it was necessary to do so to
make change. Thus with the addition of
heart a character is formed which means,
usage, custom or experience. It having
become as familiar or common to one as
the condition of being strung was to the
cowries. (W. 153 A).

tiao4, To fall down, to lose.

shoif, Radical No. 64, the hand. (See No. 53).
chox Phonetic, high, elevated. (See No. 56).
It represents a kind of mast with a
hopper shaped box half way from the
ground to the top. Many characters with
this phonetic have an ending like the
character under consideration, and it is
probable that the phonetic has been ab¬
breviated from one of these. The addi¬
tion of the radical T- shou8 signifies, to
fall. In climbing such a mast j^if ones
hold T- not good a fall is inevitable.

lo\ A gong.
chin1, Radical No* 167, gold or metal. (See
No. 13).
11 /o2, Phonetic, a net, a sieve. A net m wang*
made of silk & nz*\ ssu1 for catching birds
1 chut1. These nets, in shape, resemble
a gong and when the radical which is
218

used for all kinds of metal is added the

character for gong is formed. (W. 39 D).
633
p’o*, Broken, to break.
^ shill1, Radical No. 112, a stone. (See No. 42).
p1?, Phonetic, the skin. (See No. 224). The
present form of $£ p'b* is quite different
from the old writing and this accounts for
the variance of the phonetic. (For old
form see K’ang Hsi). Although the com¬
bination of this character has been arbi¬
trarily changed its present form is not
inappropriate:—if one comes in contact
with a rock or stone, the skin is apt to
be broken.
m
kuei*, To kneel, to bow down to.
J[j“ isu2, Radical No. 157, the foot. (See No. 484).
wei2, Phonetic, peril, hazard. This is made up
from t®* wei2, a man standing on a rock in
order to get a better view. When g, 5
chieh2 is added, (See No. 42), it means he
restrains his movements owing to the
height of his position and danger of fall¬
ing. With the above radical the emotions
of one on a rock with a precarious footing
is given to the suppliant, he regards him¬
self with apprehension. (W. 59 H).

er2. Radical No. 126, and, yet, still, but.

The archaic meaning is the beard. The
horizontal stroke is the mouth. (W.
164 A).
The use of this radical as above set forth
is .said to have originated from the fact
 219

that the beard is suspended from the chin

and the above connectives act as appen¬
dages for connecting together the various
parts of the sentence.

yuan1, A gcirden, an orchard.

□ weP, Radical No. 31, an inclosure.
yuan2 Phonetic, trailing robes. This is a
combination of P, clothing and ^
«g chuan\ to attach, to drag, (See No.
385) at the end of a trace. This is
contracted to "I*, which is placed at the
top of the character, and Q which is
placed between the upper and lower
parts of 3K i\ making % and with
the additional top yuan2. With the
radical which often means a fence, placed
around the phonetic we have the charac¬
ter for garden. A garden with its tali
stalks and long vines gives one the im¬
pression that the inclosed plot of earth
has donned its long garments.
637 ^
W tcP, to reply, to respond to.
IJ* elm2, Radical No. 118, bamboo. (See No. 7).
ho2, Phonetic, union, agreement, harmony.
(See No. 103). The joints of ft chu2,
bamboo, harmonize ho2, or answer to
each other, in their positions on the
stalk, as to size and shape. From this the
idea of to answer or respond to is ob¬
tained.

638 sa\ To scatter, to sow, to let loose.

*** \ ^ shou*. Radical No. 64, the hand. (Sec No. 53)
220

turn San* Phonetic, to pound £ p’u1 meat U until

the fibres separate, like shredded hemp,
p’a/4. (See No. 24). When the hand is
added to this phonetic the idea of, to
scatter or disperse is conveyed. The
modern writing is quite arbitrary and it
is only by consulting the seal character
that the etymology can be traced.

huang*, To talk wildly, to lie, lies.

f|| yen2, Radical No. 149, word. (See No. 10).
tE£ ig| himng1, Phonetic, wild overgrowth. This is
derived from wang2 (See No. 123) an
entering in of the rivers, ^ ch’uan1, an
overflow. When -»»* ts'ao1 is added it
indicates an overgrowth of weeds or
worthless vegetation on wild lands.
When word H is added it indicates wild,
worthless talk or lies. (W. 12 J).
610
Military, warlike.
wii8,
lu chib9, Radical No. 77, to stop. (See No. 10).
ko1, Phonetic, halberd. (See No. 2). For
some unaccountable reason the stroke
across the handle of the halberd has been
placed above the horizontal stroke on
the left. (W. 71 K).
The lancers ^ who stop Jh the hostile
incursion, thus allowing the people to
proceed with their peaceful occupation.

t’i*, To shave.
U , 73 tao\ Radical No. IS; a knife.
(See No. 37).
^ ti*, Phonetic, a thread wound on a spool. (See
No. 86). The hair grows as if it were
 221

being unwound from a hidden spindle and

the idea of to shave was set forth by
placing a razor 7J tao1 by the side of this
phonetic.

ch'ing1. Clear, pure, correct, as an account.

Y ,?K s/m;3, Radical No. 85, water. (See No. 79).
■|t^ citing\ Phonetic, light green, the color of
sprouting vegetation. (See No. 63). As
the tips of recent sprouts are translucent,
they are regarded as being pure and with
the addition of water, which is trans¬
parent, the character for clear is obtained.

/an2, Blue, indigo.

-H* fHj* ts’ao3, Radical No. 140, grass. (See No. 22)t
chien1, Phonetic, to watch. (See No. 294).
This is a simple phonetic and consequently
has no logical explanation.

hsing*, Nature, disposition, a quality,

f f >£,' hsiity Radical No. 61, the heart. (See No. 18).
sheng\ Phonetic; to grow, bear, produce.
Radical 100. A plant that grows more
and more. A whorl was added to 4L
showing increasing growth (W. 79, B, F).
When f Asm1, heart, is added the
character is used for the natural in¬
clinations or desires of the heart.

chisty Tools, furniture.

t,A jen*, Radical No. 9, a man.
chia\ Phonetic, a family. (See No. 221). This
is an unauthorized character and is not
found in the old dictionaries. The only
explanation is:—what a man 4 jcit, sup-
 ports his family *§E chia1 with ; tools and
furniture are necessary in the home.

huos, Tools, furniture.

\.K jeri2, Radical No. 9,’a man.
*J^ /mo3, Phonetic, fire. A pictorial representation
of a flame of fire. This, fA like No. 645, is
an unauthorized character. It is supposed
to have originated from the expression
+A 2$—A ten men make one mess or fire.
The mess includes the utensils for cooking.

fa2, A square cloth for tying up bundles.

P, Radical No. 145, clothes. (See No. 51).
fa2, Phonetic, to hide, to stoop. This is com¬
posed of man A and dog, A- It was first
used as the character for, to ambush, a
man 1 assuming the posture of the dog
A in order not to be seen. With the
addition of I P, cloth, it becomes a sug¬
gestive phonetic, because it surrounds the
articles inclosed,—hides them.

BALIjER, LESSON XXIV.

chm\ All, entirely, exhaust.

HU,jQl min*, Radical No. 108, a dish. This is a
pictorial lepresentation of a dish with a
pedestal such as the Chinese often use at
A
feasts.
X. W chin4 Phonetic, ashes which remain after the
fire. This phonetic, in modern writing,
has one less horizontal stroke than in the
ancient writing. It is difficult to account
for the use of H chin* as a phonetic in
 2‘23

this character. Kuei Shih Shoo Wen

has the most plausible explanation :—he
savs that is a contraction of Hr hsiri'
fuel, and ‘K huo*, fire. Thus when the fire
has consumed the fuel, its force is expend¬
ed ; nothing remains save the ashes. The
radical 111 min* indicates the stove. It
might have been a brazier for holding
coals for warming the hands of scribes j|i:.

ir’o3, To thirst, thirsty.

^ Radical No. 85, water. (See No. 79).
^ ho2 Phonetic, to ask. (See No. 271). With
the addition of the radical the idea is :
To ask M for water 7]t because one is
thirsty $3.

hsieh2, Vicious, depraved, heterodox.

i4, Radical No. 163, a city. (See No. 11).
1^ ya2, Phonetic, tooth. (See No. 97). This is
a contraction of the original phonetic
hsien2, a garment like a buskin which
wraps around the legs, awry. The con¬
traction has deprived the character of a
proper phonetic. The radical added to
this was the name of an ancient city in
Eas+ern Shantung. The city may have
had a bad reputation. Owing to the
original meaning of the phonetic being,
awry, M this character has been used for
depraved or hetrodox.

t’ing*, To stop, to delay ; suitable.

A . A. /e/72.Radical No. 9, a man. (See No. 5).
^ t'ing1. Phonetic, a pavilion, terrace. This is
 formed of Wi kaox, high, and T ting1, a
person. In the combination, the lower D.
of the kao1 is deleted. With the addition
of the radical A the idea is:—When a \
man comes to a pavilion ift while on a
journey, he will stop, ffs to rest.

chien1, The shoulder.

>urtm
jou*, Radical No. 130 ; meat. (See No. 133).
ha*, Phonetic, a door. (See No. 5). A glance
at the development of this character will
reveal why J3 ha*, a door has been added ;
it has gradually been substituted for a
curved line which represented the arm.
Because this line was only used for this
one character, its form was not easy to
remember ; first P shih\ a person in the
sitting or reclining posture, was substitut¬
ed, and afterwards it was changed to J3
ha*. This shows that early in the de¬
velopment of the written language, un¬
usual symbols were gradually replaced by
those in common use and this too at the
expense, in many instances, of logical
etymology. The facility of remembering
oft recurring elements brought about these
changes. The B represents the muscles
about the shoulder joint. In No. 361, &
ha4is referred to as “a farmer ” ; in farm¬
ing the shoulder of man and beast must
be strong, the former for carrying burdens
and the latter for pulling the plow. This
may aid in remembering the combination.
yuan*, To be willing, to be desirous of, a vow.
 225

jp| yeh4, Radical No. 181, a leaf of a book, the

archaic meaning is, the head. (See No.
105).
yuan\ Phonetic, a spring. It is represented
as gushing out from a hillside /” han*, or
a projecting cliff. The little dot at the top
of /f\ ch'uana, and the short horizontal line
are the springs and the other lines are the
rills which are fed by them, (See W. 125
F). ft yeA4 is here used to represent the
brain or the soul; that which issues from
the soul are desires and aspirations.

654
m chiang' *. To take, to hold.
ts’tin4, Radical No. 41, an inch; archaic mean¬
ing, a hand.
chtang\ Phonetic, three archaic forms of the
character under consideration show its
development. The first one is a meat-
block and meat. The second is the same
plus salt and the last is the first plus the
pickle or brine © for preserving the meat.
The modern character is the first of this
series plus "d* ts’un4, the hand which takes
the meat and places it upon the meat-
block. (W. 127, B).
655
tai4, To treat, to wait for.
% ch’ih\ Radical No. 60, a step. (See No. 78).
JK ssu*. Phonetic, a court, a place where the law
-d* rule is constantly it (continually as
the growth of a plant), applied. (See No.
125). This phonetic has no phonetic
value, but it sets forth the way one should
226

treat others, viz ; constantly according to

propriety. The radical is not particularly
appropriate, but it serves to distinguish
the character from others which have the
same phonetic. Characters which have
this radical generally indicate action.
656
Wlffl Using1, To punish, punishment.
y.7).?) taoS Radical No. 18, a knife. A pictorial re¬
presentation of the instrument.
ff.fT ch'ien1 Phonetic, balanced scale pans. The
seal writing represents the two objects
as being even. This was not the original
phonetic, # ching\ a well is the archaic
writing and this accounts for the pro¬
nunciation. The well, was in the centre
of a plot of ground divided into nine
Squares and farmed by eight families, the
central square was farmed for the state
by the joint labor of the eight families.
The well being in the centre, was where
all public functions were attended to. The
knife indicates that punishment, generally
decapitation, was inflicted.
657
fa2, To fine, to punish, punishment.
tBt, |9J wang*, Radical No. 122, a net. (See No. 38).
There was a mistake made in putting this
character under £93 wang3, as it destroys
the phonetic which was H li*, to blame or
accuse one H; with a fault and thus,
entangle $3 wang3, them. To this is
added the knife which is an instrument of
torture.
 227

mi2, To deceive, to delude, to lead or go astray.

668 ^ „ cho1 Radical No. 162, stopping and starting.
, (See No. 10).
' M mi3, Phonetic, rice. (See No. 47). There is a
still older writing than that referred to in
No. 47. This depicts nine grains of rice
•••>• without any lines dividing them ; as
they are identical in appearance it would
be impossible to keep track of any one
grain if their position were disturbed. It
may be that this was the reason why
rice was adopted as the phonetic of this
character.
659
ni huo\ To doubt, to mislead.
hsin\ Radical No. 61, the heart. (See No. 18).
huo4, Phonetic, an appanage, or feudal holding
(archaic meaning). (See No. 70). As
these appanages had no boundary there
must have been continual strife between
barons of contiguous regions, as one could
never be sure on whose territory lie was
when nearing the imaginary boundaries.
Add heart to this phonetic and we have a
good symbol for “ to doubt.”
660
wangA, The full moon ; to expect, to hope, to
look toward.
yiieh*, Radical No. 74, the moon. (See No.
43).
wang4 Phonetic, (abbreviated), a solemn im¬
perial audience. The explanation of this
phonetic is that the minister (£ ch'eri5,
when in the presence dL of the sovereign,
received light from him as the moon
 receives light from the sun. The 6 cA’en*
is deleted and £ wang2, destroyed or
ruined, is substituted. This is a very old
character and the absence of the radical
does not leave a definite phonetic; this
is because the character was in use before
the principle of radical and phonetic was
adopted. (W. 81 G).

chi2, Anxious, hurried, urgent.

>£* hsin\ Radical No. 61, the heart. (See No. 18).
1$ j3 ch2, Phonetic, to catch up with. (See No.
** * 324).
This phonetic indicates a person running
after another and laying hold of him ; a
situation requiring haste; and with the
addition of the radical for heart we have
the feelings of the pursuer set forth, he is
fearful lest he will not be able to overtake
his man.

hsieh1. To rest, to stop.

ch’ien*, Radical No. 76, to owe, to lack;
archaic meaning, to exhale, to breathe.
(See No. 273).
ho2 Phonetic, why ? (See No. 271). There is
an old reading of this character as
“ho2” but that is now obsolete. The
etymology is: — why not stop for a
breathing spell ?

t'ien2, Sweet, pleasant.

n /ran1, Radical No. 99, sweet. (See No. 23).
1& she2, Phonetic, the tongue. (See No. 73
 This phonetic has no phonetic significance.
The old writing of this character was
gj. The present writing conveys the idea
of sweet owing to the adoption of the
above radical, viz., that which is sweet #
to the tongue, IS1.

snan1, Sour, acid, grieved.

ytP, Radical No. 164, wine. (See No. 589).
tsun1, Phonetic, to walk slowly. This is com¬
posed of S P, the exhalation of the
breath and jen2, man = ft ^ yurP> to
consent; and & saP, to walk slowly.
It is probable thai the acid was obtained
by a process of fermentation and as this
is a slow, steadily advancing condition,
the present phonetic is appropriate.

/no8, To smear, to rub over, to wipe.

^ ^ shovi4, Radical No. 64, the hand. (See No.
53).
mo\ Phonetic, the tips of the branches of a
tree. The horizontal line indicates the
part of the tree referred to just as in
the character pen3, root; the lower
horizontal line does the same. With the
addition of hand, which generally indicates
motion, the character for rubbing is
formed.

ch'iangTo take openly by force, to snatch or

grab.
J ^ shoti8, Radical No. 64, the hand. (See No. 53).
ts’ang1, Phonetic, a granary. This is a con¬
traction of -ft shiha, food. (See No. 75).
230
The lower part is deleted to make room
for P weP, the store-room for grain. The
granary was the most important asset
which the farmer possessed, it was his
mone}', it was his very life, therefore he
used all diligence in guarding it. When
the radical for hand is added it implies the
hand of a forager or robber removing the
grain by force.
667
ch eh\ To receive, to meet, to accept.
^ shou3, Radical No. 64, the hand. (See No. 53).
ch'ielj4, Phonetic, the daughter of a culprit.
(Archaic). The modern meaning of this
phonetic is, a concubine. This is compos¬
ed of T lean1, fault, crime, against a
superior Jb — shangi, and ic nvP a girl
or daughter. Children of offenders were
appropriated by officials. With the addi¬
tion of hand this was first used for the
taking of a concubine from among the
daughters of the vanquished but it now
has no restrictions and simply means, to
take, or receive.
668
Hen1, A screen.
chip, Radical No. 118, bamboo. (See No. 7).
MM Hen2, Phonetic, the roof and wall ot a house,
frugal. (W. 121 K). From jp f yen3, a
roof or shelter, and chien1, stalks of
grain held together by a hand, corn stalks
bound together to form a wall. When the
radical for bamboo is added to this
phonetic it indicates the screens which are
 231

made of bamboo, split into strips about

the size of straw and woven together.
669 777)
ZXg hul, Suddenly, all at once.
4/ hsin , Radical No. 61, the heart. (See No. 18).
'm.ty wu4, Phonetic, a flag of three pennons attached
to a staff. Used to signal a negative
reply. When the heart is added it indi¬
cates that the action was not intentional
but instinctive, sudden. (W. 101 A).
670
Y.Y J
ya1, A slave girl.
kou.1 Radical No. 6, a barb.
There is no phonetic to this character
owing to its being an old, symbol which
cannot be broken up. Some take it to be
a forked stick ; others think it was an
abbreviation of 7^ $ mu4, wood. . Slave
girls wear their hair in two tufts, wrap¬
ped with a cord, which stand up from the
head and, with the body, resemble the
character Y ya1, therefore a slave girl is
called y 8f ya1 t'oti2.
671
fen\ To mete out words, to give a command.
P A’ou3, Radical No. 30, the mouth.
fen1. Phonetic, to divide. (See No. 181).
As this Phonetic is frequently used with %k
keP, to give, the phonetic itself seems to
infer giving, after the division is made ;
therefore n A’ou3, the mouth, in combina¬
tion with fen1 implies the separation of
an order from ordinary speech and giving
the same to the person addressed.
672
in4. To give a command.
232

p A’ou8, Radical No. 30, the mouth.

tt.m fa*, Phonetic, to give. This represents two
men, the one on the right is only the hand
of a man giving something, (the article
is not pictured)’, to the man A on the left.
When d ik’ou3, the mouth, is added it
indicates the giving of a command.

BALLER, LESSON XXV.

673
yin*, To print; to stamp, an official seal, a
stamp.
P chieh2, Radical No. 26, a joint or seal. (See
No. 42).
/ar chad, Phonetic, the right hand. This is a
pictorial representation of the right hand,
palm down and resting on the tips of the
fingers. This is an old character and the
phonetic has no value as such, but it
indicates a hand pressing a seal. It also
may indicate the use of the imprint of
finger-marks as a seal. The Chinese have
long used finger-prints on bank notes.
With the addition of a joint, or seal we
have the character for the latter.
674
M hui1, Ashes, dust, lime.
A.U! hud, Radical No. 86, fire. A pictorial repre¬
sentation of a flame of fire in the old
writing.
yx, ^ yu\ Phonetic, the right hand, (Archaic). It
has no phonetic significance. This com¬
bination was'first used for ashes; the
product of fire which can be handled.
Limestone is burned and converted into
 233

lime and this can be handled, but it is

said to contain fire which is apparent
when brought in contact with water.

pangl, To help, a class, a guild,

i+j jK chin\ Radical No. 50, a cloth, a kerchief. (See
1 * No. 143).
n,n pang1, Phonetic, a fief, a region, a country.
The f feng1, is a primitive representing a
leafy bough. The IS i4 a city, the upper
part is the official residence and the lower
part is the seal which is kept in the official
residence. The # represents the wooded
tracts surrounding the official residence.
The oldest writing of this character was
with % po*, silk, wealth. From 6 pa/4,
white and ill chin1, a cloth, a kerchief, or
rolls of silk which are still used as legal
tender in Mongolia Thus the help which
the emperor recognized was the financial
aid received from his nobles.

mang2, Hurried, in haste, busy,

f hsin\ Radical No. 61, the heart, (See No. 18).
lA wang1, Phonetic, to hide, lost, to die. (See
^No. 123).
To lose ones senses because of pressure of
duties is the etymology. This would be
sufficient to enable one to remember the
composition of the character were it not
for Jg wangA, to forget, being made up of ,
the same radical and phonetic; in the case
of “ hurried,” It the heart is at the side
and it may aid in recalling the position of
the radical if we recall the expression
 “ Hurried until he is beside himself.” In
case of to forget:—J& “ That has dropped
entirely out of mind.” The heart has
dropped to the bottom of the character.

chu4, To aid, to help.

tjjr) IP, Radical No. 19, strength. (See No. 212).
KM. tstP ch'iehP Phonetic, a small stand used at
sacrifices (archaic) ; moreover, also.
The lower stroke is the ground, the two
parallel strokes above are rungs. In the
sacrifices for the dead the apparent idea
is to do a favor to the departed, to aid
them, but this requires utensils jj. tsu3 and
IP strength in order to perform the
ceremonies according to prescribed rules.

hua\ A drawing, a picture.

JJJ fierP, Radical No. 102, a field. A pictorial
representation of a field.
-lf£ ^ yip Phonetic, to trace lines, to draw. (See
No. 7). The radical and phonetic do not
compose the whole character in this in¬
stance as formerly the HJ fieri2 was
inclosed with a p weP, but this has been
reduced to one stroke and that is at the
bottom of the character. This phonetic
has no phonetic value, it indicates how
drawing is accomplished, by showing a
pencil tracing the boundaries of a field.

chierP, Cheap, mean, worthless.

^ peP, Radical No. 154, precious. (See No. 38).
% chien1, Phonetic, to destroy, narrow, small.
(See No. 13). This phonetic is generally
 235

attached to characters which have the idea

of small or mean ; in this instance the
meaning is cheap, mean, worthless. The
- radical, here, with the phonetic can he
interpreted :—the value is insignificant.

so", A lock, to lock.

& chin', Radical No. 167, gold, metal. (See No.
13).
t.W so* Phonetic, a small /h object not larger than
a cowrie, pei4. These small shells were
also used as money. With the addition
of the radical, metal,, the combination is
used to represent a lock, a small metal ob¬
ject, round like a cowrie. It is a safe pre¬
caution to keep money under lock and key.

paos, To cat to the full, satiated.

^ shih‘l, Radical No. 184, to eat, food. (See No.
75).
fjJ, pad, Phonetic, to wrap up. (See No. 327).
When one has over eaten he realizes the
aptness of this combination, the stomach
feels as if it had difficulty in surrounding •
its contents.

hung1, Merit, efficacy, good results.

k li4, Radical No. 19, strength. (See No. 212).
hung\ Phonetic, labor. (See No. 89).
X This is not a bad combination to fulfill the
idea of efficiency; one must work and
exercise all the energy available in order '
to be efficient.

lao\ To toil, to suffer, weary.

li4, Radical No. 19, strength. (See No. 212).
*§£ ving2, Phonetic* the light of many lamps in a
mi2, a house. (W. 126 F). There is
but little phonetic value in this symbol,
but there is mueh significance as to the
meaning of # to toil; to labor through
the night with artificial light. This
phonetic loses the jfc at the bottom to
give place to the radical.

feu*, A drum, to drum, to arouse ; it is radical

No. 207; bulging. A drum chou1.
beaten by a hand holding a stick phi1.
The lower part of chou1 is not 3. tou4, as
one might think, it is a drum placed on a
stand. The straight line above the drum
is the skin and all above this line is sup¬
posed to be ornaments. (W. 165 C).
Written jgfc the radical is skin.

san3, An umbrella, a parasol.

jen2, Radical No. 9, a man. This radical was
arbitrarily given as it has nothing to do
with the original character, which was a
pictorial representation of an umbrella.
The archaic writing sets this forth very
satisfactorily. See Chalfant, Plate XIV.

chung3, To swell, a swelling.

1^3 Jou<’ Radical No. 130, meat. (See No. 133).
chung\ Phonetic, heavy. (See No. 22). This
phonetic also conveys the idea of being
large and consequently is a satisfactory
combination for a swelling.
\

cfi’ao3, To quarrel, to dispute.

P A’ou3, Radical No. 30, the mouth.
 237

/p shao*, Phonetic, small. (See No. 176). Small,

mean talk is a very proper definition of
to quarrel.

nao*, To make a disturbance, bustle, noise,

n,# £oa4, Radical No. 191, to fight, to grapple
with an antagonist. This radical is
made up of two chu2, to lay hold of,
to seize. (W. 11 H). (See No. 139).
Tp shin*, Phonetic, a market. (See No. 256).
The market place is where each man is
alert to his own interests and altercations
which lead to disturbances arc not un¬
common. This symbol has no phonetic
value but it does aid in explaining the
meaning of the combination.

tsa2, Mixed, confused.

chai\ Radical No. 172, a short-tailed bird.
(See No. 21). In giving this character a
radical the phonetic was destroyed; M chi2,
in the old writing is ^ a flock of birds on
a tree, a collection or a coming together.
M is the logical phonetic and the radical
should be 3K i1, clothing ; but the latter is
written in an unusual form and con¬
sequently the above radical was adopted.
A garment made of odds and ends of
cloth, thus the idea of mixed or confused
is set forth.

chichi6, Elder sister.

nu3, Radical No. 38, a woman. (See No. 16).
ELM. chJieh3, Phonetic, a square bench. It resembles
a chair without a back. This is a very
238

common article of furniture. Women

were regarded more or less as chattels
and the make up of this character was
not regarded as humiliating.

mei\ A younger sister.

j5C nil3, Radical No. 38, a woman. (See No. 16).
* wei4, Phonetic, not yet; a tree in full leaf and
branch, but probably not of large size.
(See No. 524). With the addition of the
radical for girl or woman the character
for younger sister is formed.

692 ^ sai4, To contest, to rival.

J| pei4, Radical No. 154, precious (See No. 38).
n,m sai\ Phonetic, to wall in, to shut up, to cork.
An empty space *** f), is filled with bricks,
X kung*, by the ft hands of the work¬
men (W. 47 T). When X pci4, a reward,
is added, it gives the idea of competition
to the labor; the one who works best is
rewarded.

693 Hi ch’ien3, To depute, to send.

^^ cho4 Radical No. 162, to run fast and stop, to
go. (See No. 10).
ch’/en3 Phonetic, to carry earth in a ^ k’ui4,
basket, for erecting a wall, g (W. Ill C).
This being an important undertaking, an
officer was deputed who had charge of
the construction. The sending of a per¬
son to have charge is implied when the
radical L. cho4 is added to the phonetic.

694 ^ yii4. Prepared before hand, already.

 239

shih3 Radical No. 152, a pig. (See No. 221).

yu2 Phonetic, to pass from one hand to an¬
other, to hand down, to give; I, me.
(W. 95 A). The seal writing depicts one
hand giving to another. This may be
just a repetition of the act of passing
from one hand to another, as a person, at
times, will do unconsciously, when the
mind is occupied. Add the radical plus
the part which makes it an elephant %
and we have a symbol which is suggestive
of the archaic meaning, viz., excursions
back and forth, indecision. A caged ele¬
phant goes from one side of the cage to
the other for hours without stopping. He
is all ready to escape at the first oppor¬
tunity.

pei*, Complete, to prepare.

AA jeri2, Radical No. 9, a man.
jffi Pe*4 Phonetic, to prepare, to make ready.
This is composed of Wc ^ chingi, de¬
ferential behaviour, (See No. 407) con¬
tracted, the P being replaced by M yang*.
The ching 1 indicates how the preparation
is to be made, viz., with decorum, and $
indicates that what is prepared is wanted
for use. (W. 54 G). This phcftietic was
originally used for the preparation of the
household necessities by the women. It
has had many different writings. The
addition of the radical is modern.

k'uan^, Waste, wilds, desert.

Q jih\ Radical No. 72, the sun (See No. 12).
 SI kuangs, Phonetic, broad, enlarged, a large
hall. From yen*, a covering, a shelter ;
and huangz, yellow, the hue of loess.
(See No. 207).
A yellow or imperial house is naturally
made large, spacious. (W. 171 A). It
is evident that M huang2 was originally
used as a synonym of earth Or soil, and
thus He kuang*, a hall, resembles 'M fang1,
a hall (See No. 408), as they both are
used for holding large assemblies and both
have the earth as the floor. Kuang8 is
not now used for a hall, as fang2 fulfills
all the requirements, and ^ kuang1* is
used for broad. When the sun is added
it is the symbol for a desert or barren
waste. A hall, notwithstanding it has
the earth for a floor, is non-productive •;
and k’uang* is a large, barren tract of
earth with the sky for a covering and the
sun the only occupant.

yeti*, A waste, a desert, savage, rude, wild,

rustic.
IB, jg ipf Radical No. 166, cultivated fields. (See No
82).
? yti Phonetic, To pass something from one
hand to the other, to hand over. (See
No. 694). There is a reading of gf which
is yii2, but it is archaic. &RM3C Tuan
Shih Shuo Wen has a good description of
this character £ft Si £ ft ft ft m % ^
ft §8 2. Sf. “ Beyond the limits of the city
it is called % chiao1; beyond the limits of
 241

the chiao1 it is called pasture, mu4;

beyond the pasture it is called Sf yeh3.”
A pasture region was not maintained in
/ ' all cases outside the limits of the chiao1,
and in such cases the yeU was immediate¬
ly beyond the limits of the chiao1. The
chiao1 was where intercourse %£ chiao1,
with the barbarians was held. They
were not allowed inside the £§, i* lest they
should learn of its vulnerable points and
thus attack the stronghold. This charac¬
ter was originally written & indicating
that it was covered with forests. After
the forests were cleared off the composi¬
tion was changed to the present form,
which is ik t’u* land for fields E9 fieri2.
During the feudal times the 5? yeh3 was
given into the charge of the military to
manage, and timber, grain and straw
were demanded as taxes. There were
three grades of grain tax, one for farming
land, one for buildings and another for
living in the district in idleness. The ^
yu2 indicates that the squatters or oc¬
cupants handed over to the proper au¬
thorities the taxes or a rent.

698
shih1, To bestow.
fang1. Radical, No. 70, square (See No.
503).
This radical has been given to the char¬
acter because the original classifier is not
among the modern radicals and it is now
written V" yirt, the old form is fk. ft is
 a banyan tree with branches hanging
down and striking root, A. As this tree
has many of these accessory trunks it is
here used as a symbol for many. (W. 117
B).
"uL 'C yeh3, Phonetic, also. (Archaic, a drinking
vessel.) This combination indicates a
pouring out & at frequent intervals IP as
wine at a least; or something freely
given, M. (W. 107, B).

huP, To repent, to regret.

f, 4> hs/n\ Radical No. 61, the heart (See No. 18).
* mei3, Phonetic, each, every, many. (See No.
269). The combination of radical and
phonetic implies that mistakes or crimes
are committed through thoughtlessness
and when one repents it is because his
heart swarms # meP (archaic meaning)
with the thoughts of his misconduct and
causes him regret.

kaP, To change, to alter, to correct, another.

p’tP Radical No. 66, to tap, to rap (See No.
17).
B ** Phonetic, exhalation of breath. As exhala¬
tion is immediately followed by inhalation,
this symbol was adopted as appropriate
for, “to change."
(W. 85 B and No. 191.)

lo4, A camel.
JE§ ma\ Radical No. 18t, a horse (See No. 261).
ko4, Phonetic, to go on one’s way without
heeding others. (See No. 272).
 •243

The camel is a beast of burden for which

^ «ia3 is a generic symbol. The camel
moves along the road apparently oblivious
to his surroundings ; thus the combination
is a happy one.

t’o2, A camel; to bear on the back, (of an

animal).
map. Radical No. 187, a horse (See No. 261).
ft, *5 t’o2 Phonetic, another. Archaic meaning, a
cobra, or snake that raises its head from
its coil, enlarges its neck and darts out
its tongue, (W. 108 A). The head of this
reptile being large attracted attention, as
it seemed more than the body could sup¬
port. Many of the characters which use
this as a phonetic have the meaning of to
bear or sustain. The camel is generally
used as a pack animal.

vao1, The loins, the waist.

Aft jou4, Radical No. 130, meat, (See No. 133).
yao4, Phonetic, to want, to need. Archaic,
the loins, the waist. (See No. 16). Be¬
cause the original meaning was usurped
by its present meaning, in order to make
a character for the waist the radical for
flesh was added.

ch ung2, An insect, a reptile (See No. 232).

t[3 ctiung2 Radical No. 142, a worm, a snake,
probably the cobra.
(jjfjj k’un\ Phonetic, insects that are numerous at
certain seasons of the year, such as flies.
 lice, locusts, mosquitoes and silk worms.
(W. 110 C). This phonetic is more of a
classifier than a phonetic and when the
radical is added the character takes the
sound of the radical.
The multiplication of one symbol indicates
that the character is used for something
which occurs in swarms or great numbers.

mi4, Honey.
tjj ch’ang2 Radical No. 142. An insect, a worm.
(See No. 232).
fife mi*, Phonetic, quiet, close, still, silent, secret.
From *'* mien2, a sheltered place, and
pi* (See No. 504). When one is in a
dilemma, or has to decide (^ shoot) be¬
tween two, (A pa1 to divide), modes of
action, a quiet or secret place is desirable.
Both these qualities are included in the
phonetic. When jfe ch'ung2, here used for
a bee, is added we have the character for
honey. The bees make their honey in the
darkness of a hollow tree or other secret
place.

wan1, To draw a bow, bent, curved.

hung1, Radical No. 57, a bow (See No. 55).
luan* Phonetic, to adjust, to quarrel. The
oldest writing represents a hand nt dis¬
entangling three threads ^; their lower
ends were contracted into ■+• shih2, ten.
A later writing has m yen2, word, taking
the place of the middle thread, as the
untangling of thread, it done in common,
often leads to impatient words and re-
 245

ciprocal fault finding; thus the mean¬

ing of quarreling was developed. (W.
92 D).
In shooting an arrow the bending of the
bow is very marked and so ^ kutig1 is a
fitting radical for the character meaning,
bent, curved #.

707 mM chieh3, To loosen, to explain, to open, to untie.

chiao3, Radical No. 148, a horn. (See No. 250)
? The phonetic of this character is made
up of two radicals which do not occur
together in any other character and con¬
sequently it has no pronunciation. H H
IS % gives the following explanation,
71 41 fi “ Dividing a cow’s horn with
a knife.’* Horn is put to a number of uses
and this has been true for thousands of
years. A horn being hard it was a difficult
operation to divide it; thus a symbol
which represents dividing a horn is used
as the symbol for to open. A bodkin, 73,
made from the horn, iH of an ox, 41, and
used to untie knots.

p’e/4, A mate, to pair, marriage,

g i§> yrfy Radical No. 164, a jug for holding wine.
fei1, Phonetic, imperial concubine. A woman
belonging to oneself tL. Contracted
to B chi3. This combination of radical
and phonetic was used for the wine H ynz
drunk at a wedding feast ifa (contracted),
and eventually it assumed the meaning of
mate or pair. (W. 84 A).
 A*, Gain, interest profit, acute. Archaic, to
cut grain,
JJ.tl tao1, Radical, No. 18, a knife, a reaping hook.
(See No. 37).
fio2, Phonetic, standing grain. (See No. 556).
In order to secure the benefits ffl A4, from
the ripened grain it was necessary to reap
it, in other words to cut 7J the stalks
^c.

lct ’2| 4, lei*, To bridle, to curb, to restrain, to

force.
ij li\ Radical, No. 19, strength, force. (See No.
212).
® k°l> Phonetic, hides, skins with the hair on.
(See No. 163). Leather or rawhide is
exceedingly strong, and with the addition
of fj li*, strength, a good symbol for to
curb or restrain is formed.

lieh, To crack, to split, to rip open.

H i. Radical No. 145, clothing. (See No. 51).
JfJ iteh*, Phonetic, to divide, seriatim.
The original writing of this phonetic was
% J^, a river, <«, cfi’uan1 (See No. 598)
which on account of breaking its banks
has caused great destruction 9 taP, by cuf¬
fing 7J, !l, new channels through the fields.
9 tai8 is £ or A in seal writing ; these are
the human bones as they, are found after
the flesh has decayed ; a symbol of mis¬
fortune. Rivers have been the cause of
much misfortune in China by their form¬
ing new channels.
 247

The addition of the radical 3K i\ formed a

character which originally meant the rem¬
nants of cloth left after a garment was cut
/ ' out; another old meaning was the sound
of the tearing of cloth ; but it is now used
only for the meaning given above.

712 To be like.
^ ch’/A4, Radical No. 60, to step with the left
foot.
fang1 Phonetic, square. (See No. 503).
This seems to be a simple phonetic, but
the Shuo Wen says that the symbol is
composed of two boats tied together
forming a square, therefore the boats
must have been similar in shape and size,
thus they resembled each other. The
radical ^ may have been selected because
a step with the left foot is naturally suc¬
ceeded by one like it with the right foot.

/u4, Like.
^ ch’ih4 Radical No. 60, a step with the left foot.
(See No. 78).
^ ^ /u4 Phonetic, (See No. 554).
This phonetic may have been selected as
the two rods or bows which are tied to¬
gether are of equal strength and thus
neutralize each other, consequently they
are similar or alike. For the use of the
radical see No. 712.

714 ko\ A dove, a pigeon.

Jj^ niao\ Radical No. 196, a bird. (See No. 628).
^3“ ho2. Phonetic, harmony, agreement, (See No.
 103). The fact that doves are not quar¬
relsome caused the selection of this
phonetic. >

ts’ui1, To urge, to hasten.

A. jen2, Radical No. 9, a man.
ts’txi1, Phonetic, very high, a high mountain;
a surname. This phonetic is made up of
Ih shan, a mountain, and {£ chui1, a
short-tailed bird. Grouse do not live on
the low hills but are found on the higher
hills and mountains, as they there find
more seclusion and shelter. The addition
of the radical for man may have been
suggested by the energy required if one
wishes to follow a flock of rock grouse up
a mountain; if this is tried the appro¬
priateness of the composition of fg is
never again questioned.

shou*, An animal, a brute.

uans Radical No. 94, a dog, a pictorial re-
presentation of the animal. (See No. 424).
W,M sAou4 Phonetic, the domestic animals dis¬
tinguished from ff ch'in1, wild animals.
The domestic animals were mas, 41 niu2,
& yang3, m chi\ X ch’iian3 & shih\ the
horse, cow, sheep, chicken, dog and pig.
The archaic writing depicts two ears,
then the head and below are the hind legs
and a tail. (W. 23. I) This symbol was
sufficient to convey the idea of domestic
animal but when the radical for dog is
added it means wild animals chased by
 249

dogs. The pictorial effect is unfortunately

entirely lost in the modern writing.

' ' srii4, To wait upon, to examine, to spy.

su>
jen2, Radical No. 9, a man.
szu\ Phonetic, to manage. This is hou*,
(a man P who orders P, a prince, and
by extension, a princess) reversed to
indicate the subordinate or servant who
receives orders. It is the imprint of
the prince. The prince has informed his
minister of his desire, impressed or im¬
printed his ideas on him, and the latter
puts them into execution. When the
radical for man is added the character
represents the superior { with his atten¬
dant who waits upon him.

lieh*, Burning, fiery, virtuous.

huo3, Radical No. 86, fire. (See No. 482).
lieh4; Phonetic, to arrange in order (See No.
711). With the radical we have the
fierceness of fire added to floods.

wang3, A net.
^ mi* ssu1 Radical No. 120, silk. (See No. 8).
ngt wang3) Phonetic, a net, to capture with a net.
J The idea of capturing or taking is set
forth by C wang2, to destroy, (See No.
123). Owing to the wang8 being ,
written in an abbreviated form, the
radical for silk is placed at the side.

shao1, A little, to diminish.

 * ho2, Radical No. 115, standing grain. (See
No. 556).
1=1 hsiao* Phonetic, like, similar. The archaic
meaning was, to be like one’s father,
not a degenerate. The idea of small is
attached to this phonetic as the child is
smaller than the parent. A small piece
of the father’s flesh. “ A chip off the old
block.” When ho2, a stalk of grain, a
very small thing, is added the character
stands for the above.

yas, Elegant, decorous, polished, cultured.

'W cW Radical, No. 172, a short-tailed bird.
(See No. 21).
3f ya2, Phonetic, a tooth. (See No. 97).
There is evidence that this character was
originally written 5£ but S An4, reciprocal,
being very similar to 3F- ya2, the latter
has entirely supplanted the old form and
xF ya2, hasFthe advantage of being a per¬
fect phonetic but, devoid of any suggestion
of elegance, S An4, conveys the ideas of
satisfaction. A person who is reciprocal
is courteous and is generally in high favor.

cAao , To beckon, to call, to proclaim.

f shou*> Radical No. 64, the hand. (See No. 53).
;g chao\ Phonetic, to summon, to call. The
archaic meaning was to criticise,—to use
the mouth as a knife 73. With the addi¬
tion of the radical ^ it has the meaning
of to beckon.^ as the hand is used in
that act. This is a term used in summon-
ing a person to appear at court.
 251

hu1’2, To call, to expel the breath.

A’ou*, Radical No. 30, the mouth.
hu1’2 Phonetic, an exclamation ; an interroga¬
tive, a sigh ; a sound which is uttered
after the completion of a sentence. The
1» ch'iao3 is the breath meeting with an
obstruction. The ^ is composed of s
p'ieh*, a sign of action and A pa1, to dis¬
perse or scatter. The obstruction is over¬
come. The difference between impeded
respiration and unimpeded, is taken as
a symbol for wonderful. (See No. 258,
853). The radical for mouth ils added to
indicate a call.

hsi*, To produce interest, to stop, a full breath,

respiration.
hsin1, Radical No. 61, the heart. (See No. 18).
g tzu*, Phonetic, self, the nose (See No. 104).
The Chinese believe that during a full
breath the M. ctii4 of the heart is expelled
when the outside air isFbrought in through
the nose @ and goes to the heart <&. As
breathing is necessary for the maintenance
of life, the meaning was extended to in¬
terest^ a loan, a requirement necessary
for the continuance of the loan.

hsiin\ To instruct, to teach, to exhort, to

persuade.
yen2, RadicaFNo. 149, a word. (See No. 10).
ch'uan1, Phonetic, a river. (See No. 598).
Instruction should be continuous as the
flow of a river, a continual flow of words.
“ For it is precept upon precept, precept
 upon precept; line upon line, line upon
line ; here a little, there a little.”
\

ch'uan2, Authority, power ; the pee of a steel¬

yard.
* mn4, Radical No. 75, wood. (See No. 22).
HI kuan4 Phonetic, the heron. (See No. 428,
511),
At first glance it is difficult to understand
why $ is used as the phonetic of this
character, but a study of the characters
which use this phonetic, plus the habits
of the bird as set forth in j{£ ft, Kuei Shih
Shuo Wen, aid in the understanding of
its use. The heron is supposed to an¬
nounce by his call the approach of rain ;
hence he is possessed of great intelligence.
He stands by the hour in the water mo¬
tionless, watching for food ; when within
reach, action is prompt and sure. His
common name is ^ “ the old waiter,”
or ‘ ‘ patient waiter. ’ ’ Probably the poised
attitude suggested the use of this phonetic
with wood ;fc, (the steelyard beam being
made of wood), as a fitting symbol, for
the pee on the steelyard. The string
suspending the pee tesembles the long
neck and its shape is not unlike the body
of the bird, lhe pee only indicates the
weight when in precisely the correct posi¬
tion, thus it is just and unwavering.
For these reasons, authority and ability
to give a just decision, are given to this
character by extension.
 253
727 ping3. Authority, a handle.
* imi\ Radical No. 75, wood (See No. 22).
pS| ping3 Phonetic, the 3rd of the ten stems, re¬
ferring to fire. (See No. 437).
Fire has authority over wood, hence the
combination, to the Chinese mind, is sug¬
gestive of authority. Wood, in a sense,
is the handle by which fire can secure a
hold on the structure.
31283ft

Foul, unclean, stagnant water.

y 17jC shui6, Radical No. 85. (See No. 79).
k’ua1, Phonetic, to boast, to overpraise.
yi? Phonetic, the breath, 5 having overcome
an obstruction,—spreads in all directions.
—It seems reasonable to think that this
character was originally written Ilf i.e. 4?
yd2, a basin, a tub, with the addition of
water '/ ; it is the symbol of water which
has been used for washing.

fa4, To be near, to follow, to lean on, possessed

by.
U JfL fa4 fou4 Radical No. 170, a mound. (See No.
493).
fa*, Phonetic, to give. (See No. 672).
Tuan Shih Ml & Shuo Wen explains this
character more full}' than the others.
P 4L /oh4 is a mound or small hill. A
foothill looks up to the mountain, a small
state must do the same with reference to
a large, powerful state, and is obliged to
adopt the customs and usages of the
latter and pay it tribute, ft.
254

730
m ¥
rnieh4, To put out (as a fire), to destroy, to
exterminate.
shuP, Radical'No. 85, water (See No. 79).
% mieh4 Phonetic, to extinguish or kill; hsiP
to wound — i\ with a halberd yueh,
and ik. fire. This phonetic was originally
the full character, but later water was
added to indicate the substance used to
extinguish fire. (W. 71 P.)

731
tse2, chaP To reprove, to punish, to lay a
charge on; duty, to be responsible.
peP, Radical No. 154, valuable. (See No. 38).
tz’u4 Phonetic, thorns. It represents a thorny
tree. The modern writing entirely changes
this phonetic so that no trace of thorns
remains. There are two meanings of this
character: 1. To reprove or to punish.
The thorns ^ tz’u4, indicate torture, and
M peiA indicates a fine. 2. The care and
worry, m tz’u4, of property, M peP. The
possession of property brings responsibili¬
ty. (W. 120 H.)
732
ch’ou1, To draw out, to shrink, to levy.
f ^ shou3, Radical No. 64, the hand. (See No. 53).
yu2, Phonetic, from, origin. The old writing
represents a sprout which is drawing its
strength and nourishment from the seed.
There is another old writing of which
has H H livP, to keep, retain, for phonetic ;
when 4s shou3 is added, the idea is
that the hand is taking away a part, but
something is still left, Iiu2 = ||.
 255
733 K|fa £pr chen4, To arrange, to fonn into ranks, a regi-
. ^ naent of soldiers.
fl * '
cfi’en2, To arrange, to state to a superior, old,
stale.
/u4 Radical, No. 170, an elevation. (See No.
493).
There are two phonetics in the old writ¬
ings of this character. One is ^ Z shen1.
Chalfant regards this as a symbol for a
thunderbolt, something terrible; the shock
of their serried phalanx, the ancient war¬
riors may have been pleased to liken to a
thunderbolt. The other form is J§£ Ik, not
iungfj east, but two hands supporting
or planting a tree. It seems to indicate
the planting of trees on a hillside, perhaps
a park. The present forms of the char¬
acter seem to be a combination of these
two old forms. (W 50 H.)

fcng1, Leprosy, scrofula, paralysis, insanity.

ni4 Radical No. 104, sickness. (See No. 593).
feng1, Phonetic, wind.
The Chinese divided the wind into eight
kinds, east, west, north, south, and north¬
east, etc. Some were regarded as having
good and some as having bad influences.
This is not an old character and is not
described in the I% but leprosy or in¬
sanity was supposed to be caused by bad
f wind. Rabies in dogs is attributed
to the evil influences of a certain kind
of wind.
735
ching1, Terrified, alarmed.
J| wa3, Radical, No. 187, a horse. (See No. 261).
j|J£ chin^y Phonetic, to reverence. (See No. 407).
The terror which a horse experiences
in the presence of that which he regards
as being more powerful than himself.

ya\ To wonder at, admire, to take exceptions

to.
Hf yen3, Radical No. 149, a word. (See No. 10).
if j*. Phonetic, a tooth. (See No. 97).
Tuan Shih J£ says that this character,
originally written $t, meant to meet, or
receive a guest; when one meets a noted
person there is a feeling of awe or fear. It
now is used for surprised, or to wonder at.

pienS p’ien4, Everywhere.

^ ch'ih4 Radical No. 60, a footprint of the left
foot, or a step with the left foot.
JH pien3, Phonetic, flat; an inscription hung over
the door. Kuei Shih’s Shuo Wen & J£
explains this phonetic as the official
register of the inhabitants of the Empire,
JS fW Therefore it must include all.
• With the addition of ^ ch'ih4, to go, the
idea of going to every house in the land is
set forth.

t’angs, To lie down, to lie.

shen\ Radical No. 158, the bodv. (See No.
291).
shang4, Phonetic, a house. (See No. 52).
This is an unauthorized character and is
not found in old dictionaries. The ety¬
mology of it is not difficult. When lying
 257

down m persons desire a roof $1 above

them to protect their bodies from heat,
cold or storms.

/a1, To draw, to pull, to lead.

&4H

shotP, Radical No. 64, the hand. (See No. 53).

IP, Phonetic, to set up, to rise, instantly. (See
No. 216).
The old writing of this character was ft
la1, which indicated the putting forth of
great strength, but as the three IP
characters were more difficult to write
than fL IP, to stand, the latter was sub¬
stituted, and its use is explained thus : in
exerting great strength in pulling one has
to stop and take a firm stand.

itP, To uphold, to help.

shovP, Radical No. 64, the hand. (See No. 53).
fu\ Phonetic, a husband, a man. (See No.
234). Kuei Shih ft tfc 3C says ffc, zfc ^
g| a husband. The hand of the husband
assists the wife and the meaning is now
extended to any kind of assistance.

t’uP, To retreat, to decline.

cho* Radical, No. 162, action. (See No. 10).
ts’uP Phonetic ; to refuse, to retreat; to have
walked with difficulty ft all day long ©,
and refuse to go farther, or to go back¬
ward on account of the difficulties of ad¬
vancing. This phonetic may have been
suggested because the sun, each morning,
slowly ascends until midday, when the
indications are that it will continue to go
 higher ; but at noon it starts to descend.
With the addition of L, it forms the char¬
acter for to retreat. Compare No. 402,
to advance.

» . chu4, To gather, to assemble.

? er3, Radical, No. 128, the ear. (See No. 71).
ch’fi3, Phonetic, to lay hands on, to take. (See
No. 578). The oldest use of this phonetic
was for the cutting off of the left ear of
captives and presenting them to the officer
in command ; this was evidence of the
number of captives taken. The meaning
gradually extended to the holding of per¬
sons and things in general. When three
men Zfc chung4 are added it is the symbol
of an assembly brought together % by the
desire of people to hear If what is to be
said ; thus the speaker, figuratively, holds
his audience by the ear. This character
is not composed of radical and phonetic
as most characters are, as the radical is
part of the phonetic and the three men are
still unaccounted for, but their presence
has a logical significance. (W. 27 K.)

chi2, To assemble, to collect, a fair.

H chui1 Radical No. 172, a short-tailed bird.
(See No. 21).
mu4, Phonetic, wood or tree. This character
was originally written ^ three lines com¬
ing together at the ends forming a triangle.
It was afterwards supplanted by a tree
with three birds on it, and later the num¬
ber was reduced to one. (W. 14 A, 119 G).
 259

pan4, A comrade, to attend on.

-£>-
jeify Radical No. 9, a man.
pan4, Phonetic, half. (Sec No. 118).
When \ jen2 is added to this phonetic the
idea is set forth that two persons are
usually seen together and are regarded as
a pair and one is the half of the pair. A
single man A is but half ££ a {man. The
usage is not limited to two persons, only ;
it is applied to several persons whose
vocation necessitates their being together.

chui1, To pursue, to follow.

cho4 Radical No. 162, to go, or to pursue.
(See No. 10).
titi1, Phonetic, a terrace, ramparts, a city.
(See No. 310) With the addition of L. cho4
the idea may have been to follow the
person or enemy even down to his strong¬
hold, to his ramparts. This phonetic is
also used for troops which guard the city
and thus this character is sometimes ex¬
plained as the legion on the march pursu¬
ing an enemy. (W. 86 B).

lin2, Near, contiguous, neighbor.

i4, Radical No. 163, a city. (See No. 11).
liri2 Phonetic, an ignis fatuus. (See No. 588).
The reason for using this phonetic in the
character for “ near ” is owing to the
necessity of being within close proximity
to an ignis fatuus before it is seen. A city
which is not farther away than this light
is visible must be close at hand.

chieti1, Pure, clean, neat, tidy.

260

7k. vshaP' Radical No. 85, water. (See No. 79).

chieh2 Phonetic, to adjust, to regulate.
Tuan Shih |3 says that ch’i4 in this
combination indicates the cutting of a
bundle of hemp’threads, thus making them
of one length and the & signifies that
they are tied up into bundles after having
been washed '1 and cleansed.

yen2, Stern, majestic, strict, tight.

P k’ou3, Radical No. 30, the mouth. (See No.
17).
yen2 Phonetic, to lay hold of a person and
force him to move forward. The modern
writing is quite different from the original;
that shows a hand striking shu2 a
bear 3$ H (as in tfc kan:t sec No. 545) in a
cave r yen3, accompanied with great
outcries w hsiian\ The modern meaning
emphasises the sternness of outcry, such
as is heard in the court when the magis¬
trate browbeats a witness. (W. 146
H).

chu3, To order, to enjoin upon.

k'ou3. Radical No. 30, the mouth. (See No.
17).
shu2 Phonetic, a tail, an appendage. This is
made up of M weP, tail, contracted, and
£3 shu3, a silkworm in the process of spin¬
ning its thread ; as the worm is constantly
moving during this operation, this part
of the phonetic indicates motion. Thus
the two parts indicate a tail which is
 261

constantly wagging. When P A’ou3 is

added it seems to indicate a last injunc¬
tion, an appendage or command added
after the business has been talked through.
For another meaning of §3 s/iuf see No.
800.

chin3, Watchful, respectful.

Mot

yen2, Radical No. 149, words. (See No. 10).

chin8 Phonetic, yellow, contracted and earth
dh, potter’s clay, loess. (W. 171 B.)
When H yen2 is added the idea may have
been that one should be as careful and
watchful as to what he says as a potter
is in shaping the clay.

shen*, Caution, attentive,

f , 41' hsin1, Radical No. 61, the heart. (See No. 18).
jUl chen1, Phonetic, true. (See No. 218). A true
heart is cautious and attentive.

mo12, To feel, to rub with the hand, to caress.

^ shou3, Radical, No. 64, the hand. (See No. 53).
ma2, Phonetic, hemp. (See No. 24). Painters
use wads of hemp for rubbing oil into
wood and for painting.
It is probable that this character was
formerly written H as ^ mo2, to grind,
and the character under consideration are
sometimes interchanged. 0 may have
been first used as the symbol for rubbing '
the hands together, the hands acting as
the upper and nether mill-stones 35 and
gradually it was used for any kind of
rubbing.
 cheng*, Evidence, proof.

f!f yen2, Radical No. 149, word. (See No. 10).

teng1, Phonetic, to ascend. (See No. 240 and
243).
This phonetic indicates climbing to a high
platform and If is to proclaim, from a
high platform, to publish abroad.

chu*, Evidence, according to.

^ shouRadical No. 64, the hand. (See No. 53).
||| chi? Phonetic, wild boar, to fight, to struggle.
A wild boar ^c, shihz, and a tiger hi?
fighting, and neither one letting go his
grip on the other. (W. 69 D.) With the
addition of hand the idea of holding firmly
is set forth. Evidence is that which a
person affirms and holds without waver¬
ing in spite of any opposition.

yang*. To display, to publish ; to extend ; to

winnow.
* shotis; Radical No. 64, the hand. (See No. 53).
"s§> yang2> Phonetic, to expand, glorious. (See
No. 541) The hand placed beside the
phonetic indicates that something is ex¬
hibited in bright light in order that all
may know and understand.

ch'ai\ To break, to destroy.

shouz, Radical No. 64, the hand.
BM ^ > Phonetic, to attack. (See No. 288) an
abbreviation of$?. This means to attack,
sfr ? (it is T kan1 doubled and means
that it is repeated attacks) a man in his
 263

own house yen3. When the hand is

added it stands for to break or to destroy.
(W. 102. D).
/ '

wo*, To lie down.

jijj ch’en2, Radical No. 131, a minister, a states¬
man. (See No. 1 20).
f.A jeri2, Phonetic, a man. The proper position
for a man in the presence of an official
was the prone posture, and the above
symbol is used for, “ to lie down.” (W.
82 F).

ju*, A mattress, a cushion.

i1, Radical No. 145, clothing. (See No. 51).
ju*, Phonetic, to shame, to insult, to reveal
with the hand ^ a disgraceful condi¬
tion, ch'en2, to be pregnant (See No.
122). The H ju* seems to be a simple
phonetic and the radical indicates that
the mattress is made of cloth.

chui*, A cord, to let down by a rope.

^ ssii1, mi* Radical *No. 120, silk. (See No. 8).
chui1, Phonetic, to pursue, to follow. (See No.
745).
The radical here indicates a rope or cord
and the article suspended follows the
lowering or raising of the rope.

shui*, Tax, duty on merchandise.

ho2, Radical No. 115, growing grain. (See
No. 556).
^ £w/4, Phonetic, to exchange, to barter. (See
‘264

No. 72). The character indicates the

giving of grain ho2 to the government
for the privileges derived.
761 -=±r
M li4, An officer, a magistrate. (See No. 231).
k’ou3, Radical No. 30, the mouth. (See No.
17).
chang4, Phonetic, ten feet. (See No. 368).
In the seal writing the basis of the char¬
acter is If Jfc shih9, a scribe, a hand
holding a stylus. This is also the char¬
acter for history, as it was the work of
the scribes to record history. lt£ li4 has
one stroke above the Jfe ; this is a contrac¬
tion of Ji shang4. Thus this character
stands for those scribes who were direc¬
tors or rulers of the literati.

m $ hsP, A mat, a table, a repast, a feast.

fjj chirpy Radical No. 50, a napkin, a towel. (See
No. 143).
|§£ ship Phonetic, all (contracted) ; all the indivi¬
duals of the house gathered about the
light of the hearth to eat. In ancient
times meals were served on a flat surface
made of stone, and the family partook
while reclining. The J! is composed of
r yen9, the house, and \
kuang light.
The light of the fire was all the illumina¬
tion they had. The flj chin1 was originally
written © and is described as being a flat
stone on which the meal was served.
This eventually gave place to a mat. ffe
shu4 is a logical element rather than a
phonetic.
 265

k'angx, Joy, peace, repose ; healthy, delightful.

J*-* yen3 Radical No. 53, a shelter. (See No. 132).
The phonetic is not easily separated, as
, * it is only in the modem writing that /**
yen* arbitrarily appears. HE M keng1 (a
pestle in two hands) is the hulling of rice,
and KH is the same, save that in the
latter rice M is represented. A grain of
rice was firm and could stand the violence
to which it was subjected in the process
of hulling. The meaning of peace, repose,
and satisfaction is supposed to refer to
the rest which came after the labor of
hulling the daily portion of rice. (W.
102 B).

chien*, Strong, vigorous.

\t jeri1, Radical No. 9, a man.
chien\ Phonetic, to write regulations # yii*
(See No. 7), for the march <L \ yirs*
(archaic; long strides, % ch’ih4 lengthened
out). (W. 169 B). A man who was
able to fulfil the regulations was strong
and vigorous.

chin*, To prohibit.
shih*, Radical No. Ill, to reveal. (See No.
164).
lin2, Phonetic, a forest; indicated by doubling
the radical for tree. $£ bad omens
from trees (W. 119 M). The ^
when seen was regarded as a revelation
of divine or supernatural disapproval, and
thus the character stands for prohibition
266

lang1, A son, a bridegroom, gentleman, secre¬

tary.
Pfc Py‘Radical No.^163, a city. (See No. 11).
Ean/fy Phonetic, good. (See No. 445).
The character fi{S was formerly the name
of a city—a city of excellence. The mean¬
ing given above was an expression of the
hope of the family in the son or bride¬
groom, that he would bring benefits equal
to that of a powerful city.

p’ei4, To entertain, to visit with, to aid, to

match; to add earth about the roots of
plants.
-?•, (5 fii4 Radical No. 170, a mound. (See No. 493).
t’ou4 Phonetic, to cut a speaker short by
interrupting him. The dot * on the top
indicates the interruption, and the i?? fon3
is an adverb of negation i.e. saying n no
This seems like a strange phonetic to
be used in a character which means “ to
visit with,” but persons when chatting are
constantly interrupting one another as
they speak, in order to get the real mean¬
ing, or to correct a wrong statement. If
one is not on intimate terms with the
speaker this is not possible.
768
/u2, To manage a boat (archaic), to yield to,
to assent, to serve, clothes.
yuch1, Radical No. 74, moon. (See No. 43).
Gift fir Phonetic, to hold the seal, authority.
In the modern writing U yueh4 has sup¬
planted jfr chon1, a boat, and consequently
the etymology is not apparent without a
 267

study of the old writing which represents

the hand % which wields the authority P
on the boat jfr, the captain. The charact¬
/ ' er also sets forth the opposite of to govern,
viz., to be governed ; this is the action of
the boat under the direction of the captain,
to yield, to assent to; to be attached to,
as to a girdle, therefore, clothes.
769
tai4, A bag, a pocket, a purse, sash.
i’V Radical No. 145, clothing. (See No. 51).
chin1, Radical No. 50, cloth. (See No. 143).
tai4, Phonetic, a substitute. Order X of suc¬
cession or substitution of men; a reign ;
to supersede ; a dynasty.
It may have been the custom, when one
'f jerf got a substitute to give him a tally
•% i4, (See No. 576) which when presented
allowed him to occupy the position of the
one for whom he was substituting. The
addition of or rjj may have been sug¬
gested when trying to carry grain or fine
material, a cloth rtJ or the clothing
when used to carry it could take the place
of many persons.
770
ch'ia1. To pinch, to claw ; to twist.
shout1, Radical No. 64, the hand. (See No. 53).
hsien4 Phonetic, a pit, a pitfall, a snare. This
comes from B chiu4, a mortar, or hole in
the ground or rock for pounding grain.
hsien4 is a pitfall or trap with a man in it.
When $ shot*' is added the idea is that
with the hand something is held secure as
if in a trap.
 sui*, Head of grain, ear.
^ Ao4 Radical No. 115, standing grain. (See
No. 556).>
Au/4 Phonetic, grace, kindly. (See No. 385)
This is not the original phonetic of this
character, but it has become generally
used. It may be that it was used as a
recognition of the grace of heaven,
t’ien1, in giving the increase of the field ;
or the gracious part of the standing grain
is that where the seed is borne. The
original writing was $ sai\ a hand
gathering the heads of grain.

wei*, To escort, to defend, a military station,

Tientsin.
tf Asm/*3, Radical No. 144, to walk. (See No.
161).
we/4 Phonetic, refractory ; thongs, rawhide.
Two men pulling X in opposite directions
on an object o, or hide, in tanning it. dtt —
% ¥ the reverse of # . The indicates
opposition, refractory. Compare # 4* $
ch’iian\ opposition, error. The refractory
have to be bound with leather thongs,
hence the meaning leather. As leather is
strong and used to protect delicate articles
it is here a suggestive phonetic. The
addition of the radical ft indicates the
guarding of something while on the march.

ch'iieh1, Deficient, a Vacancy; broken, defective.

fou* Radical, No. 121, earthenware. (See No.
264).
 ‘269

chiieh1 Phonetic, to divide, to break.

(See No.
109). A dish & /oa8, which is broken 5&
is deficient.
/ '

fa?* In want, poor, weary.

p’ieh1 Radical, No. 4, a stroke to the left. (See
No. 176).
Jb chih1. Phonetic, a chihs written back¬
wards. The explanation is: a person
who lb stopped before reaching the line —.
The inference is that he was exhausted. Z.
has nothing to do with the sign of the
possessive Z ik chih1.

chi\ Dearth, hungry.

shih2, Radical No. 184, food, to eat. (See No.
75).
chPj Phonetic, a small table ; a contraction for
m.
chih 3, Phonetic, little. (See No. 34)..
When food it is scarce M a small table A,
is large enough. When food is scarce $L
it is a time of dearth ®L. The character’s
original meaning seems to have been
dearth or famine and hungry is an exten¬
sion, as hunger is the common condition
during famine.

o4, e\ Hungry.
shih1, Radical No. 184, food, to eat. (See No.
75).
^ W, Phonetic, I. (See No. 2). This character
according to Kuei Shih Shuo Wen £1
% was originally written {K o4, ?/) 1C szu*}
 to feed, and ffc me. It was contracted to
the present form.
\

AV, Dry, decayed, withered, (as a palsied

limb).
* mu4, Radical No. 75, wood. (See No. 22).
ku\ Old. Phonetic. (See No. 17). Old wood
is probably decayed.

k’uei\ To peep, to spy.

/V hsueh4, Radical No. 116, a cave. (See No. 07).
kuei\ Phonetic, to shoot an arrow (archaic) ;
rule, custom. (See No. 529). To shoot
ftR a glance through an opening /C hsueh4.
The present writing of M breaks up the
etymology, as the fu should be ^ shih3.
In archery the eye aims along the arrow
shaft; but here the eye shoots a glance
through an opening.

k’ung*, To rein in, to draw a bow, to check,

to accuse.
ft}**

sW, Radical No. 64, the hand. (See No. 53).

k’ung1, Phonetic, vacant, empty. (See No.
302).
This phonetic plus the radical seems to
have been first used for drawing the bow ;
in shooting an arrow one increases the
vacant space ^ k'ung\ between the string
and the bow. In prosecuting a person it
was not unlike shooting an arrow at him;
if the accusation was substantiated, the
defendant suffered perhaps more than if
hit by an arrow.
 271

780 B3 fcfcj chou\ Completely, to extend everywhere.

JKIjH Q A’on8 Radical No. 30, the mouth. (See No.
17). Here it is a modern replacement of
/ ' contracted to 7. This character is a
primitive compound which cannot be
broken up into radical and phonetic. It
is yung' (See No. 476) and ]k chi\
to reach to. contracted, (See No. 324).
Every bull’s eye has been hit. Efficiency
is expressed in this character.
wei2, To surround, to inclose.
p| wei2 Radical No. 31, an enclosure. (See No.
28).
j|£ wei2 Phonetic, thongs, rawhide, refractor}'.
(See No. 772). The meaning of the pho¬
netic may be that HI is a leather case
protecting that which is precious, but
more probably it means refractory, % and
therefore when it is in U it means “ incar¬
cerated.”
782
cA’ou2, Grieved, sad.
'L* hsin1, Radical No. 61, the heart. (See No. IS).
cA’/u1, Phonetic, autumn, harvest. (See No.
169).
In the autumn the grain is often blighted
with frost apd appears as if scorched with
fire ift. When one s desires are thus
blighted, it canses sadness of heart.

yingA, Hard, obstinate.

shih2, Radical No. 112, stone. (See No. 42).
keng1,4, Phonetic, to change. (See No. 226).
With the addition of stone ?j shih2 the
idea is to change and become hard like
 stone. This refers either to a physical or
mental change.
\

sheti\ To stretch out, to explain.

A, A jen2, Phonetic No. 9, a man.
||j shen1. Phonetic, to extend, to stretch. (See
No. 227) A man who is taking a rope and
measuring off a fathom, six feet, with his
outstretched arms. A man who is able
to explain or straighten out the tangled
cord.

hsP, Rare, seldom.

|jj chin1, Radical No. 50, cloth. (See No. 143).
The phonetic here is not a character which
is separated from the radical. It repre¬
sents the texture of cloth SL and the rfl
chin1 was placed below. As the threads
are clearly seen it conveys the idea of
loose as opposed to close ; thus by exten¬
sion scattered, rare, seldom. (W. 39 G).

lii\ Statute, law.

'A ch'ih4 Radical No. 60, to step with the left foot.
g| jrii* Phonetic, to write. (See No. 7).
With the addition of ^ ch'ih* the char¬
acter is used for written regulations for
the march, and by extension, law.

tang*, A clan, a faction, an associate, a cabal.

HI hei\ Radical, No. 203, black. (See No. 178).
shang4, Phonetic, a house. (See No. 52).
The Shuo Wen1 says that the M indicates
that the members of this society are all
smoked with one smoke, that is that they
 278

meet together in the same room. They

meet in the dark H, secretly, form a cabal.
The tnj shang4 here represents the leader
of the clan or association.

yung*"3, To crowd, to gather in a crowd, to

embrace.
f shou3, Radical No. 64, the hand.
yung1 Phonetic, a city ; harmony, union ; the
wagtail. The first is the old form of the
character, a citjr & with a moat (R em¬
bracing it, but the second form is now in
general use. (K := and ^ as in 0.
With f£ it means the bird that haunts the
borders of moats and ponds in harmonious
flocks, the wagtail. (W. 12 G). This
phonetic is used to express harmony of
action, and with the addition of the
radical ^ it means to jam or press as a
crowd, and embrace with the arms.

chP, To crowd, to press out.

shou2, Radical No. 64, the hand. (See No. 53).
ch’P, Phonetic, even, together. (See No. 455).
The hands T working together #, to
crowd, to press $1.

fu3, To stoop, to bow, to condescend.

^ 'f jerP, Radical No. 9, a man.
fu3, Phonetic, a palace. (See No. 388).
This is not an old character, but it has
come into general use. The etymology is
apparent: When a man A comes to an
official department M to pay his taxes ft,
the customs of China require him to show
 respect and reverence to the official in
charge. Thus by extension to bow and
condescend, $f.

/u4, To fall prostrate, to fall on the face, to lie

in ambush; a decade in dog days; to
subject.
\ jen2, Radical No. 9, a man.
^ ctiuarf Phonetic, a dog, a pictorial representa¬
tion. f/i is a man A taking the cringing
attitude of a dog A or compelling another
to take it, i.e. to humble or subject
another. (See No. 647) (W. 25 E).

hsietf Conspicuous, to make plain, glorious.

^ yctfj Radical No. 181, the head, a page, a
man. (See No. 105).
H hsien3 Phonetic, motes in a sunbeam, volatile,
minute, fibrous. When a sunbeam El
shines into a dark room, small motes like
silk fibres, M ssu1, become visible j$| float¬
ing in it. When M yeh\ the head, is
added the original idea was that the
decorations of the hat were very apparent.
The character is now used for anything
conspicuous.

/on4’ lu\ Dew; W, plain, to expose, to disclose.

M yix3, Radical No. 173, rain. (See No. 61).
lu\ Phonetic, road. (See No. 279). .j$ ft Kuei
Shih say’s—m % 1% 2 ffi fom $£ W Ut “Dew
is the secretion of the dark, female power
of nature, devv comes from the earth.’’
Lu* Sft seems to be used for earth m as
rain from the earth instead of the ordinary
 275

rain of heaven. Rain that wets the feet

only, as when walking in grass wet with
dew.
“ The dew is the path gfr of the rain pjf,
and when it falls on grass it turns it white
disclosing each stem and leaf.”

k'uang2, Mad, wild, raging ; presumptuous.

ch}iian3 Radical No. 94, a dog, a pictorial
character.
3l, Jfc. wang3 Phonetic, rambling. (See No. 350).
This character indicates that dogs have
suffered from rabies in China from the
very beginning of their civilization. This
character is described as a mad dog. The
animal wanders around from place to
place without any definite aim, and thus
this is a very apt phonetic for this disease.
The character is not confined to this one
disease, it is at present, used for any kind
of mania.

yii*, To instruct, to illustrate.

P k’ou3, Radical No. 30, the mouth.
yu2 Phonetic, a small boat, a primitive barge,
sampan, H san1 pan3, jit -flL. “ The
commencement of boat-building.” Joining
A chi2 of planks to form a boat fl to sail
the rivers {{ kttai4. With the addition of
P k’on3, the mouth, the idea is conveyed
of giving instructions in the building of
the boat; by extension instructions of
any kind.

Jfc’t/n3, To bind, to hamper.

^ shou*, Radical No. 64, the hand. (See No. 53).
(£1 k’un*, Phonetic, confined. There are two writ¬
ings of this phonetic I. to stop and
rest by a tree, to take a nap under a tree;
II. g§ a tree which is hemmed in D weP,
by rocks or large trees, and thus restricted
in growth, or wilting from confine¬
ment. This last is the one which is in
general use. The addition of hand implies
that there is an act of repression. It
seems probable that these were two
different characters but they have become
merged into one. The reason for this
view is, the two meanings, viz., sleepy
and cramped and hemmed in. The first
seal writing is in accord with the idea of
sleepy, to stop ik under a tree and take
a nap. It is difficult to explain why this
character should have the two meanings
had it sprung from one symbol.

tan1*4, To carry a burden on a pole, a load or

burden.
t shou*, Radical No. 64, the hand. (See No. 53).
chan1 Phonetic, to talk impudently. (W. 59
H).
This is from we/2, a man A standing
on a dangerous crag T (See No. 634), and
A pa1, to scatter, and W yen2, words ; to
recklessly scatter indiscreet words. The
radical ^ indicates that the character
was first used as a verb. One who talks
indiscreetly has a heavy, dangerous bur¬
den to bear and this eventually has been
 277

extended to mean a burden of any kind.

'98 (W. 59 H).
miao2, A spront, the sprout of grain ; wild
tribes.
"H* ts’ao3, Radical No. 140, grass. (See No. 22).
tfien2, Phonetic, a field, (See No. 212).
The sprouting vegetation Pf of the culti¬
vated field 15. That which is planted just
.appearing above the ground, «£». (W.
149 B).

99
shai4, Bright sunlight, to dry in the sun.
jih*y Radical No. 72, the sun. (See No. 12).
A4'1, Phonetic, elegant. This phonetic original¬
ly meant antelope, deer, J$L etc., animals
which lived in droves, but it early took
on the meaning of elegant, perhaps owing
to the graceful appearance of the animals.
The upper part "" Z/1, is a primitive repre¬
senting decoration. These animals were
decorated with horns. J8l la* deer is a
picture Ifa of horns, body, feet and tail.
hsi1, Phonetic, west,. (See No. 26). The west¬
ern sun is much warmer than the eastern,
thus this is a suggestive addition to the
character, but, like the other phonetic, is
without phonetic significance.

00
to2, Solitary, only, childless.
^ ch'uan Radical No. 94, a dog. A pictorial
representation.
sha3 Phonetic, a silkworm spinning its thread.
(See No. 749) (W. 64 I). If a silkworm
is spinning a cocoon it is working alone
278

and for itself, and when this phonetic is

used in this combination the idea of
“ solitary ” is derived from the above
fact. As dogs do not usually roam about
in packs the dog radical is appropriate to
form the character for solitary or alone.

ao4, The southwest corner of a room, where

the Lares were placed, mysterious.
^ £a4, Radical No. 37, large. (See No. 54).
This character cannot be broken up into
radical and phonetic. The above radical
is arbitrarily given to it in the modern
writing. The Shuo Wen says the cha¬
racter stands for the south-west comer of
the room A mien2, the dark corner, where
one is obliged to grope with the hands
in order to differentiate ^ pienA the
articles. Jk pien4 is the track of a wild
animal and these were easily distinguish¬
ed, the one from the other, only by hunters
or those who frequently' saw them ; thus
this is a symbol for discrimination (See
No. 837). As there was more or less
obscurity about such a corner, by exten¬
sion the character has acquired the mean¬
ing of mysterious. (W. 123 F).

mi4, pi4, Secret, private, divine.

7J\ shih*, Radical No. 113, spiritual influences*
(See No. 164). Written 4 with a pen
* ho2, Radical No. IT5, standing grain. (See
No. 556).
pi4, Phonetic, must. (See No. 504).
 279

Ift pi4 originally was used as a term for a

god or deity and the manifestations of
his will must be complied with, ffi is
another writing of the same character.
The meaning of secret may have originat¬
ed from the fact that the will of the gods
could not be known unless set forth by
revelation or omen.
103 r
chan*} A part of a day, briefly, temporarily.
Q jih*, Radical No. 72, the sun. (See No. 12).
chair\ Phonetic, to decapitate, to cut in two.
This phonetic is a war chariot with
scythes according to the Shuo Wen. It
may have been used to exterminate
captives, and so, by extension this symbol
fir came to mean beheading by an execu¬
tioner. The character may mean to
whirl or brandish ^ a battle axe Jx. (W.
128 A). See M (No. 812). When a day
U jih* is divided the time is necessarily
short.

pi4, To press upon, to ill use.

5L, cAo4 Radical No. 162. (See No. 10).
o /a2 Phonetic, abundance. (See No. 267). The
character H should be written fg pi4.
When there is an abundance of men, a
crowd of people, they press one another,
and if the throng is great the weaker
ones suffer from the pressure; a very
suggestive symbol for oppression.

tieh1, To stumble, to fall.

280

& tsu2, Radical No. 157, the foot. (See No. 484).
jjk shih\ Phonetic, to lose, to err, a fault. (See
No. 566).' An error X of the foot M, a
mis-step, leads to a fall
806
szu1, Personal, selfish, secret.
TlC ho2, Radical No. 115, standing grain. (See
No. 556).
szu1 Phonetic, private, selfish. (See No. 569),
Grain %, was used for paying taxes and
the residue was personal i* property %L.
By extension, selfish.
807
yii*, Passion, lust.
* hsin1, Radical No. 61, the heart.
yu\ Phonetic, to long for, to desire. This is
made up of @ ch'iao4, (See No. 135) the
upper lip, or the flesh ^ above the mouth,
D A*’on8. In this phonetic the upper lip
seems to be regarded as the center of self-
restraint. The X ch’ien* indicates a
deficiency of restraint which allows desire
to gain the mastery. When & hsin1 is
added it stands for passion or lust.
808
yen3, To screen, to hide from view, to shade.
^ sAou3, Radical No. 64, the hand. (See No. 53).
% yin>t Phonetic, a man making a long stride,
quickly; by extension, to cover, remain.
The old writing, depicts a man making a
stride ^ and covering ground the length of
the outstretched anus, a fathom. ^ shen2,
(See No. 784)} When hand t shou\ is
added the hand covers or screens from
view.
 281

vin3, Retired, in private life.

B,1^ fa* Radical No. 170, a mound. (See No. 493).
yin8 Phonetic, careful, care, taking an interest
f ' in, freedom from care; to enjoy the
results of the work X hung1 of one’s
hands «*' 3*. The & hsin1 indicates peace
of mind of one who has what he needs
and desires nothing else (W. 49 G). The
P fu* is a modern substitution, meaning
place, where formerly was written l_ a
hiding place.

man2, To deceive, to conceal.

@ mu4, Radical No. 109, the eye. (See No. 102).
man3 Phonetic, equality. (See No. 306). When
both eyelids are closed (equally tight),
then one cannot see. An old meaning of
this character 8$ was to close the eyes. It
now means to hoodwink or to cause one
to have closed eyes to the real condition
of affairs.

ya\ To sprout, to bud, a germ, a shoot.

ts'ao8 Radical No. 140, grass or vegetation.
(See No. 22).
ya2, Phonetic, a tooth. (See No. 97).
Dentition is an interesting process and
is watched by those interested in children.
The sprouting of seeds seemed to the
originators of this character to have a
striking resemblance to that process; it
occurs at the commencement of the new
life and the germs appear like teeth just
showing above the gums.
282

812 «fi|f chien4, Gradually, by degrees.

7JC, ^ shuiz,Radical No. 85, water. (See No. 79).
]££ chan3, Phonetic, decapitate, to cut in two.
(See No. 803). Water cuts its way
through great rocks but ages are required
in the process. This impressed the scribes
and they adopted this process as a symbol
for gradually.
813
kus, Grain, cereal.
ho2, Radical No. 115, standing grain. (See
No. 556).
ch}iao1 k’o1, Phonetic, a cover H and vegeta¬
tion db, ik. chih1. By extension, the husk
of grain, the shell of nuts or of an egg.
The jt shu1, to strike, (See No. 165) is
added, as frequently the husk requires
much harsh treatment, before it is re¬
moved from the grain.

Z/4, A kernel (of grain).

* mi3, Radical No. 119, rice, small grains. (See
No. 47).
£ li\ Phonetic, to establish, to stand. (See No.
216). Grain in bulk cannot be piled up
unless it is in a bin; it is only a single
kernel that can stand jfc alone without
support.
815
chih1, A branch of a tree.
mu4, Radical No. 75, a tree, cr wood. (See
No. 22). ^
chih1, Phonetic, a bow, a branch, to advance
money ; the 65th Radical.
 283

This phonetic originally was used for the

branch of a tree. The old writing shows
a hand with a branch as if stripping it
from a tree. The radical is a modern
superfluous addition.

yin4, Shady, to shelter.

ijllj* ts’ao* Radical No. 140, grass. (See No. 22).
yin1, Phonetic, shade, dark, Hades, female,
secret, cloudy. This symbol often refers
to the sky as being o vrer cast; now ^ chin1,
it is cloudy 5: yiin2. The P fu*t high, is
superfluous. When V* is added it indicates
that the shade comes from trees or some
thatched or artificial shelter.

Hang2, Cool, fresh, cloudy.

^ shuis, Radical No. 85, water. (See No. 79).
ching\ Phonetic, the capital. (See No. 98).
^ The capital is the most important place
in the Empire, and by extension it is most
desirable ; cool water is most desirable
and refreshing.

tuA, A ferry, to ford, to cross a ferry.

y shui", Radical No. 85, water. (See No. 79).
tfc tu4, Phonetic, to measure, a degree ; capacity ;

^ to cross. This phonetic is made up of J&

shu\ contracted, (See No. 762), and %
yu4, the right hand which measures by
spans. (W. 24 M). The important
thing in fording a stream is to be sure
that the water 7jC is not deeper than you
are able It to ford, : or, to pass across
It water ?JC.
284

819 pao\ To expose to the direct sunlight; violent,

cruel.
0 jih\ Radical No. 72, the sun. (See No. 12).
This character does not divide into radical
and phonetic. > The old writing shows
definitely the idea which the character
was intended to convey; which was to
spread ^ grain ^ out {fi in the sun H to
dry. On account of the strength of sun¬
light it has come to mean violent or cruel.

po\ A wave, a ripple.

r,7K shui3, Radical No. 85, water, (See No. 79).
jjr p’i\ Phonetic, the skin. (See No. 224). The
waves and ripples are like a superficial
layer, j£ p’i2, of the water. (See No. 832).

lang*, Waves, profligate.

shui\ Radical No. 85, water. (See No. 79).
hang2, Phonetic, good ; the original nature of
a thing. (See No. 445).
It is the nature & of water to form
waves, the waves iS seem impertinent,
rude, lawless, profligate tft.
822
chcn", A pillow, to pillow ; to sleep.
^ mu4, Radical No. 75, wood, (of which pillows
are made in China) (See No. 22).
%, Phonetic, to go away, to withdraw; a
man )L who walks out of a space *-+ n
(See W. 34 E). When wood mu1 is
added it forms the character for pillow
and is thus explained : when the head is
pillowed (asleep) the man makes journeys
% yin2 all over the world in his dreams.
 285

ching4, Quiet, still; clean.

^ ching1, Radical No. 174, pure, fresh. (See No.
63).
/ ' ^ cheng\ Phonetic, to wrangle, to contest. (See
No. 315). This character # was originally
used for thoroughly ^ blended colors W
ching1, but it is now used for quiet or
still. The proper character for this was
ching*, a cessation j|t It*, of wrangling
# cheng1; but in modern composition the
proper character is-never used.

tan8, The gall, courage.

^ jou*, Radical No. 130, meat. (See No. 133).
chan1 Phonetic, to talk indiscreetly, oversee.
(See No. 797). The reason for this com¬
bination of radical and phonetic may have
been :—if a man does indulge in indiscreet
statements, he not only needs to be a
man of muscle H jou*, in order to stand
by these statements, but also a man of
courage or gall. The gall bladder is con¬
sidered to be the seat of courage.

ctiieh*, Timorous, cowardly,

f hsin1, Radical No. 61, the heart. (See No. 18).
ctiu*, Phonetic, to go. (See No. 67). If the
heart >5 is gone there is no courage.

chii*, Afraid, to fear, to stand in awe of.

hsin1, Radical No. 61, the heart. (See No. 18).
so chii2 Phonetic, the timid look HB of the bird
needed to preserve life, looking to right
and to left. When a hawk has caught
 his prey, he is on the alert while devouring
it, lest an enemy should attack him.
With the addition of f hsin1, heart, the
timidity of the bird is referred to the
emotions.

yiag2, To go out and receive, as a guest,

j cho4 Radical No. 162, to run and stop. (See
No. 10).
Jp.B ang2 Phonetic, high, noble. A high dignitary
an official who holds the seal Here
the seal ^ stands for the official. (See
No. 42). The other part of the phonetic
is Jl b, a man facing the opposite way
from the usual position. This man is
looking up to the official as if desiring to
attain to the rank of the latter. When
L. cho4 is added the idea of respectfully
going out to meet a guest or high digni¬
tary is expressed. vang5, to look up,
has the same phonetic. (See W. 26 G).

lien2, Lead or tin ore ; lien*, a chain.

chid, Radical No. 167, metal. (See No. 13).
^ lien2, Phonetic, to connect. (See No. 499).
This phonetic is suggestive of a chain as
it is used for things connected. The chain
M is made of many rings of metal & con¬
nected like a string of carts, j£, going
L. one after the other.

lit*, Many times, repeatedly.

shihl, Radical No. 44, a person, in the recum¬
bent posture. (See No. 449)
lot? Phonetic, the part of the palace where
 ‘287

women are confined. (See No. 392). The

idea of the phonetic here is not the same
as that in IS? /ou2. This M tit1 is a very old
character and it is easiest to explain it by
commencing with the P shih1, which is a
contraction of M wu1, a room ; (See No.
337). # wu2, a negative; chung1
nii:i arc two characters used in the A #
pa1 kua\ which indicate an empty space;
and it indicates that in this room JH,
where the women were confined, there
was no # furniture, it was empty. The
character eventually came to mean a
space as opposed to a\solid substance and
was used for the holes in the lattice win¬
dows. From this the idea of “frequent”
is derived, as in a window there are many
of these spaces.

ch’iin2, A flock, a herd, a multitude, all.

yang1, Radical No. 123, a sheep. (See No.
253).
■=& chun1,
l , Phonetic,
t nonetic, a princely
pnncciy man. n. w twur
r* - -■» • *> H .
posed of ^ yin2, and D k’ou2; a magist¬
rate ^ who holds in his hand ^ authority
J and who utters P his decrees or orders.
As sheep are orderly in their actions the
above phonetic was adopted with
yang1, sheep, for a flock ol sheep. It now
means a flock of any kind.

yuan2, A hem of a garment, a collar, a cause,

a connection, because.
^ szu1, Radical No. 120, silk. (See No. 8).
 r^? t’wan! Phonetic, pigs with bristles. By exten¬
sion, accessories, as bristles are accessory
to the pig. (W. 68 I). When silk * is
added it is used for the trimmings of a
garment. The bristles of the pig were
regarded as decoration and harmonized
with his general appearance.

p’o1, A declivity, a mound, a hill.

rh t’u3, Radical No. 32, the earth. (See No. 13).
p’r, Phonetic, skin. (See No. 224). The use
of this phonetic plus zk t'u\ earth, for a
hill, and plus f shtiP, for a wave (See No.
820) leads to the supposition that the
two characters were originated by the
same scribe. The wave is an elevation
on the surface of the water and a hill is
an elevation on the surface of the earth.
In skinning an animal the skin is prone
to lie in wrinkles ; this maj' have suggest¬
ed its use as a phonetic in the two in¬
stances.

ctiuang2'\ To push ahead, to bolt out or in ;

rudely.
PI men2. Radical No. 169, a door. (See No. 5).
jg ma\ Phonetic, a horse. (See No. 261). With¬
out phonetic force, but it is suggestive of
dashing forward ; if once a horse J% strikes
the side of a door PI when going through,
he will ever afterward go through with a
rush [$.

foiP, To throw at, to give over, to join.

 289

shoti3, Radieal No. 64, the hand. (See No. 53).

jx. sha1’2 Phonetic, the right hand making a quick
motion, to strike. (See No. 165). With
/ ' the addition of shou* t the hand, a good
character for to throw is formed and to
give over or to join must mean that one
throws himself on the mercy of another,
as the prodigal did in the far country.

ch’iiari2, Cured, recovered.

r 72i*, Radical No. 104, sickness. (See No. 593).
ch’iian2, Phonetic, entire, finished. (See No.
& 552).
This character is not found in the Shuo
Wen, but it is not difficult to see the idea
of its composition: when the disease
nP has run its course & ch'iiari1, the
patient recovers.

yuan2, A fountain, the source.

tK. y. shw8, Radical No. 85, water,
jig-’ yuan2, Phonetic, the origin, a spring. (See
,fT’ * No. 653). The modem character has f
shui3, water, added, owing to the present
writing of the phonetic having no sug¬
gestion of water left in it. The original
character depicted the streams issuing
from under a ledge of rock.

fan\ To interpret, to translate.

szu\ Radical No. 120, silk. (See No. 8).
/an1, Phonetic, the tracks of a wild beast,
aborigines, discrimination. The © is the
ball of the foot and the rest of the
290

symbol is the imprints of the claws

(cf. No. 801). Hunters became expert at
recognizing the footprints of the various
animals and could tell at a glance what
beast made them.
The character for “ to interpret or trans¬
late” should be written H fan1, but through
the carelessness of some scribe M fan1 was
substituted. It was probably used first
for translating the writing of some tribe
or person who wrote different symbols
from those in common use. Observe that
W shenz, to judge or investigate, uses the
same phonetic : the judge in his courtroom
*** mien2, investigates HI fan1 the testimony
and pronounces sentence accordingly.
838
HH Women’s rooms, women, female, girl.
H men1, Radical No. 169, door. (See No. 5).
^ kuei1, Phonetic, a small stone scepter or baton,
anciently given to nobles as a sign of
rank. (See No. 161). The character §§
kuei1 seems to have been first used to
indicate the door of a feudal lord in dis¬
tinction from the large door used by the £
wang2, the prince, and it was afterwards
used to designate the door of the women’s
apartment, and finally was used foi
women in general.

839
jang2, To clamor, to cry out, to scold.
k'oif, Radical No. ^30, the mouth.
hsiang1 Phonetic ; to remove, to assist, to per¬
fect. It is necessary to study the old
 291

writing. It is to take off one’s outer gar¬

ment iflc i1 and assist a in a common piece
of work X kung*. The Oil hsiian1 indicates
that there is much discussion, perhaps
many orders given. X, seen only in oldest
writing, was changed into EL chi3 and
indicated disorder or confusion. (W. 16
I. and 72 H.) With the addition of P
k'oii\ mouth, to this already boisterous
phonetic we have a strong character for
clamor. The modern writing gives but
little clue to the original composition.

men3, To expel, to drive out.

shou3f Radical No. 64, the hand. (See No. 53).
men3, Phonetic, the Emperor’s chariot. When
the Emperor went on the street the
ordinary traffic was suspended and the
streets must be vacated. The addition of
hand t shou3 to this phonetic may have
formed the character adopted for the
clearing of the thoroughfare for the pas¬
sage of the Emperor’s chariot. It was
drawn by two men (W. 60 M).

841
H/j Xen4, To dislike, to loathe.
]W Radical No. 27, a projecting cliff.
|n a-H yen4 Phonetic, to be satiated, H kan1, with
™ dog it ch'uan8, meat ft jou*.
The & i8 and U* kan1 of the old forms have
/

been changed to 0 in the modern char¬

acter. Satiety seems to have been the
aim in the ancient feast; it is indicated
bv § i3, belching. By extension, the m
 yen4 means disgust, aversion. J~ han4 re¬
presents the retreat from the place of
feasting. (W. 65 G).

ch'i*, To reject, to discard.

mu4, Radical No. 75, wood. (See No. 22).
This character does not exhibit radical
and phonetic. The seal writing represents
a newborn child in a scoop and two hands
in the act of throwing it away. (W. 94
G.) This indicates that infanticide has
long been practiced in this country.

kuai3, A staff, a crutch.

shou3, Radical No. 64, the hand. (See No. 53).
^ ling4, Phonetic, separate, extra. (See No. 474).
As a staff is something used by man in
walking and is not a part of himself, this
phonetic aids in explaining the character
but is without phonetic force.

cA’en2, Dust, the* world.

± t'u\ Radical No. 33, earth. (See No. 13).
JBl (If ^onet’c’ a deer, an antelope, a gazelle.
On the upper part are the horns, below
are the feet and the body is in the middle.
The original writing of H cA’en2 was not
always the same. & indicated the dust
which a herd of deer or elk caused to rise
when they ran. There is now but one Jjg
deer.

to4’8, To stamp, to knock off (from the feet).

JE, tsu2, Radical No. 157, the foot. (See No. 484).
^ Phonetic, bushes with branches hanging
with flowers. (See No. 581). When foot
 293

is added to this phonetic, there is the idea

of something hanging or adhering to it,
which can be removed by a stamp of the
foot.

vu2, Oil.
^ 7jC shtii3, Radical No. 85, water. (See No. 79).
^ vu2, Phonetic, from, origin. (See No. 732).
This was originally the name of a river
and it was adopted as the character for
oil. There is no etymological ground for
this use.

fu4, A wife, a married woman.

nii3, Radical No. 38, a woman. (See No. 16).
chovt Phonetic, a dusting cloth attached to a
handle. Invented in the 21st century B.
C. When nii3, a woman, is added it is
used as the character for a married
woman or wife, the one who handles the
broom-stick. (W. 44 K).

we/4, To dread, to respect, to be in awe of.

Q t’/en2, Radical No. 102, field. (See No. 212).
This character cannot be divided into
radical and phonetic. Originally the IB
t'ien2 field, was 6 & fu4, a demon’s head,
and ^ chao3, claw, and finally )) A jen2,
a man, a frightened man, was added as a
demon’s head and a tiger’s claws are
most fear-inspiring objects to man. This
character has undergone so great a change
in modern writing that the etymology is
entirely lost.
 hvP, To protect, to defend.
yen2, Radical No. 149, a word. (See No. 10).
huox Phonetic, to hold a bird in the hand %
to protect it. This is a bird of the falcon
or hawk tribe, carried on the arm X*
According to # ft mX Kuei4 Shih4 Shuo1
Wen2, the bird is eminently able to foresee
good fortune or calamity, and there is an
intimation that they were kept and pro¬
tected in order to secure good fortune.
With the addition of word, f§ yen2, the
character stands for protection or, to
defend.

ytP, To float, to rove, to travel.

V jK shaP, Radical No. 85, water. (See No. 79).
m ytr Phonetic, the motion of the arms of a
swimmer ; fluttering of a flag. The pho¬
netic is a contraction of 2$; ytr, a swimmer.
The tP yeiP (See No. 698) a fluttering
motion, here means the overhand swim¬
ming strokes. The T ^ tzu3, a child,
indicates that the legs of the swimmer are
hidden by the water and thus invisible as
those of a child wrapped in long clothing.
The water radical } slmP, is a recent
addition. By extension this character is
used for the verb, to travel.

r, Stalks standing so close together that they

require to be transplanted, to move.
ho2, Radical No. 116, standing grain. (See
No. 556).
to1, Phonetic, many. (See No. 184). This
phonetic assists in explaining the meaning
 295

of the character, but has no value as a

phonetic. When plants are crowded &
z < and their growth is thus stunted, the
farmer often transplants and so allows
room for development.

cA’/a4, Timely.
41* t Radical No. 61, the heart. (See No. 18).
^ ho2, Phonetic, joining, union, harmony* (See
^ No. 103). That which occurs just at the
right time or just when it-is wanted,
hsin\ is called timely.

cA’/ao3, Skillful, lucky.

kung1, Radical No. 48, work, workman, time
of work. (See No. 89).
cA’/ao3 Phonetic, difficulty in breathing, air
which has met with an obstruction. (See
No. 258). This is a phonetic which in¬
dicates curves and waves of air; these
curves and twists plus X kung\ a repre¬
sentation of the square, when brought
together, are used for skilful, as a work¬
man who can combine curves and angles
in his work must be skilful.

p’aP, To arrange.
shou3, Radical No. 64, the hand. (See No. 53).
fei1, Phonetic, a primitive with two sides
opposite to each other. (See No. 276).
The objects are placed in a certain position
with reference to each other and with the
addition of hand this forms the character
to arrange.
 296

855 shih4, To swear, an oath.

t=t yerfj Radical No. 149, word. (See No. 10).
mm she\ Phonetic, to break, to cut in two. In the
oldest writing this phonetic represents an
ax which has cut a branch in two. In
ancient times when one desired to affirm
a statement as true, he took an ax and
cut a branch in two, the idea being that
he expected such a retribution if his state¬
ment was not true. With the addition of
If yen2, word, this character is used for
an oath.
856
pai1, To break apart with the hand (as bread).
^ shou8, Radical No. 64, the hand. (See No. 53).
81s. W pi4p’j4, Phonetic, a prince, a man who pro¬
nounces O' the sentence f° on criminals
hsin1 (See No. 274).
The chieh2, seal, has been changed to p
shih1, in the modem writing. As the
sentence was generally death, the char¬
acter also means to kill by cutting asunder.
When hand is added it means to break
open with the hand ; a case where the
addition of a radical very materially
reduces the original severity of the phon¬
etic.

857
an4, The bank, the shore.
lU.'AisAafl1’ Radical No. 46, a mountain, a pictorial
representation in the old writing.
T kan\ Phonetic, arms. (See No. 110). Here
the idea is that arms T* kari1, are used for
defense. The radical ill shan\ a mountain,
 297

should also include r han*, a projecting

cliff, as mountains and the cliffs are the
guardians against the encroachment of
the sea.

yao2, To shake, to sway to and fro.

^ shou3, Radical, No. 64, the hand. (See No. 53).
($) yao1 Phonetic, an earthen vessel for cooking
or keeping meat. (W. 130 C). There is
no explanation of why this phonetic is
used with the radical t hand, shou3, for
the verb to move, and consequently it
must be regarded as a simple phonetic.

huangx, Agitated, apprehensive, to scare; very,

f hsin*, Radical No. 61, the heart. (See No. 18).
£ huang1, Phonetic, barren, wild, reckless. (See
No. 639). This is a good phonetic and
when heart f hsin1, is added the condition
of the barren and worthless land is trans¬
ferred to the heart. It suggests the idea
of being “ scared out of one’s wits.”

yif, Silly, stupid.

hsin1, Radical No. 61, the heart. (See No. 18).
a <*> yif Phonetic, a monkey. In the old writing
the head resembles that of a demon. (See
No. 447). It has a prehensile tail (W.
23 F). For some reason a monkey is
regarded as stupid, thus when heart is
added the character indicates a monkey’s
heart—stupid.

chid, To grasp, to restrain.

^ shoti8, Radical No. 64, the hand. (See No. 53).
 298

*3 chii\ Phonetic, a sentence; (See No. 80) to

admonish <?r warn, and with the addition
of f shoti3, the hand, to lay hold on one,
to prevent his going. chii4 is not origi¬
nally from ^7 pao1, as stated under the
80th character, but from 1 , 2| chiu1, a
primitive representing a creeping plant
twining over and circling, round other
things. That 1 chiu1 is here written
precisely like pao1, to wrap, is mislead¬
ing. Because the tendril 1 chiu1 and the
placenta pao1 both have the idea of to
wrap, or contain, the modern forms are
often identical and they are used inter¬
changeably.

shou3, To keep, to guard.

*** mien- Radical No. 40, a house.
-yj* fs’un4, Phonetic, an inch, a measure, a hand.
(See No. 69). It is without phonetic
value but it explains, the use of the char¬
acter. The ^ mien2 is an official's resid¬
ence and here the law "4 ts’un4, is kept
and used in the administration of the
office. Another explanation is that ***
mien- is a house on the frontier where
soldiers are stationed to protect, the
frontier from encroachment.
863 ^
r, To bequeath, to lose, to give.
ch°A Radical No. 162^ to run and stop. (See
No. 10).
JJ kuei\ Phonetic, honorable. This is from
k}uei\ a basket, (See No. 693) and R pei\
 299

precious, a basketful of precious things,

K, valuable. This character has under¬
gone many changes and the present
writing does not indicate the original
meaning. Kang Hsi gives three old
writings which are obsolete. The best
way to remember the character is to
regard the valuables it kueix as moving
L. , changing hands, either as a present or
bequeathed

ch'iin2, The lips.

jou*, Radical No. 130, meat, flesh.
ch’en2, Phonetic, time, 7 to 9 a.m. (See No.
122) It Si i£ £ Ch’ang2 Chien1 Shuo( Wen2
gives the following explanation:—H, ^
ch'err is from Zj. ? i\ germination (it
represents the germ striving to get thru
the ground) ; and 11 & huaA, an inverted
man, change ; (See No. 488 ; the seed is
being changed into a plant,) and — old
writing of _h shang1, up ; (the plant is
growing up out of the ground) ; and f*
han* indicating that at first the sprout is
covered with the earth. As this is the
season when vegetation commences to
grow it is a most important time for
farmers. Why this was selected as the
phonetic for lips is not apparent, unless
the cotyledons of plants such as beans
reminded the scribes of the lips.

wangz, Crooked ; wrong, a grievance.

* mu*, Radical No. 75, wood. (See No. 22).
 wang* Phonetic, vegetation which grows here
and there ^without any order, (See No.
350). With the addition of tree mu4
this irregular growth is transferred to the
tree and this is a symbol of a crooked,
wrong or unnatural growth, a tree so
contorted that it is useless for building
purposes.

cA/eA4, To prohibit, to caution ; a precept.

3I< null

yen2, Radical No. 149, a word. (See No. 10),

cA/eA4, Phonetic, to warn, to caution. This
phonetic is made up of two hands ft and
a halberd 7^ It implies an ocular warn¬
ing. When m yen2 is added it implies a
verbal warning. (W. 47 E).

lei*, Ruined, a house in ruins, useless; to

abandon.
J*~ yen8 Radical No. 53, a covering, a shelter, a
house.
fa1, Phonetic, to shoot an arrow, to send forth.
(See No. 214). Some explain this phon¬
etic as M po4, to separate the feet, to place
the feet apart as one does when shooting
an arrow Si from a bow ^. When shoot¬
ing the arrow is sent away, is lost; this
is the idea stressed in this combination;
and when T yen8, a house, is added it
indicates an abandoned house ; one which
owing to its location or for other reasons
cannot be used.

cA/eA4, To borrow, to avail oneself of; by

means of.
 301

H* ts’ao3, Radical No. 140, grass or vegetation.

^ (See No. 22).
%e chr Phonetic, a field plowed by the Emperor,
appanage, to borrow. This is made up
of %, /ei®, a harrow (See No. 601) and
rt hsiS dried meat old, ancient. (See
No. 222). The crops from the Imperial
field were used in sacrifices. This phon¬
etic is made up of the products of the field,
grain, and the results of the chase, dried
meat; in a word, the articles used as
food. By planting and hunting one could
supply himself with these articles and the
original meaning was, “to avail oneself
of,” and this meaning was extended to
“borrow.” It is now written wdth the
grass radical when used in this sense.

hui4, Weeds growing among grain, dirty, un¬

clean.
ho2, Radical No. 115, standing grain. (See
No. 556).
su/4, Phonetic, a harvest, a year. (See No.
197). As Jupiter’s phases indicated whe¬
ther or not war was to be waged, it thus
decided whether the crops ^ ho2 were
properly cared for; when war was being
carried on the weeds were not removed
and thus the fields were dirty, as the men
were called away from their agricultural
pursuits.

tu*, The belly.

jou4, Radical No. 130, meat, flesh. (See No.
133).
 302

-f* t'tf, Phonetic, earth. (See No. 13). This

character is not found in the Shuo Wen
and hence is probably a modern inven¬
tion. The ;fc t!n3 is a simple phonetic.
871
kou3, Illicit, careless, if.
“H* ts’ao\ Radical No. 140, grass. (See No. 22).
kou\ Phonetic; curved, crooked, a hook ; to
entice; to cross out from a list. This is
composed of 1 , S| chiu1, a creeping vine,
(See No. 861), and P A’ou3, mouth. This
phonetic is often written kou1. Because
a creeping vine extends its growth in any
direction, it is regarded as being selfish,
careless, and by extension illicit.
872
m A
•
A i ou1’ ^'° s^ea^ to pilfer, secretly, stealthily.
Jen2, Radical No. 9, a man.
it yii2 Phonetic, a small boat. (See No. 795).
The original writing of this character ft
was it t’oii1, and it has to be looked up
still in the Shuo Wen under nii3, woman,
where it says the vulgar writing is ft
t’ou1. It is evidence that the incongruity
of using it nii3, when in the courts and
jails ninety-nine out of a hundred thieves
are men, was recognized and consequently
the nii3 was replaced by { jen2, a
person of either sex. Why it was used as
phonetic is not apparent; perhaps boat-
women were notorious for their thieving
propensities.
873
ip tu*, Jealous, envious.
 303

~t£ nii3, Radical No. 38, a woman, a girl. (See

No. 16).
/ ' hu\ Phonetic, a single door. (See No. 480).
This is another instance where women
are maligned by the scribes as if jealousy
were confined to the female portion of the
human race. The Shuo Wen sa3rs that if3
tu is the jealousy of women and chi1
the jealousy of men. If this is correct
why is iK nu9 used in both characters ?
The present character represents a woman
back of a P door giving vent to her
jealousy where she is not seen by others.

cha\ Sediment, dregs.

'/,7k shuP, Radical No. 85, water. (See No. 79).
ch'a3, Phonetic, a proper name. (See No. 397).
It was at one time used as the character
for a railing and also for the foundation
of a pillar, but none of these meanings
aid in the explanation of the present
combination, therefore it has to be put
in the class of simple phonetics.

ching\ A region, a place ; state or condition.

&§H-

t’u3, Radical No. 32, earth. (See No. 13).

ching4, Phonetic, the end, limits; boundaries
where the pronunciations it- yin\ of men
JL differ; only, nothing but. With the
addition of ± tV, earth, the stress is
removed from the boundaries, to the
region in which the language is the same.

ctiu\ Painful, distressing ; orderly, well- done.

 * mu4, Radical No. 75, wood, tree. (See No. 22).,
chyu9, Phonetic, a place planted with trees.
This phonetic contains the radical, the
upper part is’ a grove or forest tin*.
The lower part is 7E shu\ the foot in
motion. (W. 112 C, 119 N). It is a
difficult thing to walk through a thicket.
The idea of orderly may have been sug¬
gested by the regular order of the trees
which were planted in the grove.

wu4, To awaken, to discern ; to recover,

t, 'L* hsin1, Radical No. 61, the heart. (See No. 18).
wtP Phonetic, I, my. It is composed of 2£
wu9 five^ (See No. 30), and P k’ou8 the
mouth, ft wu* is a very lofty appellation
for I, myself, as it represents the creation
of all things 2l, by the word of my mouth
P, but man has ever been prone to elevate
himself and with the addition of f hsin\
heart, consciousness, we have the symbol
for, to discern.

p'iao1, To float, to drift.

¥ shaP, Radical No. 85, water. (See No. 79).
jg p'iao4, Phonetic, a signal, a ticket. (See No.
255). The old writing represents smoke
floating in the air as a signal,; when
shui\ water, is added, the floating is
transferred from the air to the water.

, ^ » To cover, to hide, to screen, to intercept.

cho* Radical No. 162, to run and stop (See
No. 10).
m shu* Phonetic, all (See No. 762). If a person
 305

left or went away from, 3L cho*, the light

of the hearth J® he was not seen, as
, this was all the light in the house at
night.

ts’aF, Variegated, gay, ornamented with

diverse colors.
£ shan1 Radical No. 59, to adorn with feathers
or colored hair. It is intended to repre¬
sent feathers or long hair.
$ ts’aP, Phonetic, to pluck with the fingers **
fruit or flowers from a tree ; to choose.
(W. 49 B). With the addition of ^ shan1,
to adorn with feathers or long hair, we
have flowers and long hair or feathers;
thus the character contains all the natural
articles for ornamentation.

tang3, To obstruct, to withstand.

^ ^ shot?, Radical No, 64, the hand. (See No. 53).
a tang1, Phonetic, to be equal to. (See No. 478),
® A hand t shot?, must be equal to % the
requirements before it can obstruct or
withstand

yu*, That which decides who is right in a

quarrel; a prison, a jail.
ch’iian3 Radical* No. 94, a dog, a pictorial
representation.
The Shuo Wen explains this character as
being two dogs f ch’iian3. The phonetic
is a yen2 but though it has no phonetic
force, it assists in explaining the meaning.
The two dogs personate two criminals
who are mutually incriminating each
 other IT yen2, in order to secure a lighter
sentence. N This is not a pleasant pastime
and is an apt symbol for Hades or prison.

chiai*, To marry a husband.

iK niis, Radical No. 38, a woman. (See No. 16).
He chia\ Phonetic, a home, a family. (See No.
221). The bride leaves the parental roof
and a new home ^ chia1, is started.
This combination of radical and phonetic
forms a good character for the above
meaning.

p'ieh1, To throw away, to give up.

shou*, Radical No. 64, the hand. (See No. 53).
pi\ Phonetic, mean, poor, ruined. (See No.
211). With the hand f shous, added,
which indicates the action of discarding
or throwing away worn out clothing **
we have a very good symbol for the
above meaning

tien*, A grand hall, a palace.

shu1 Radical No. 79, the right hand making a
jerky motion. (See No. 165).
Pun2 The phonetic is not now used as a char¬
acter ; the buttocks. The explanation
given in Chu Shih 3c ft Shuo Wen is as
follows: g“A
thief is bound and spanked in the hall.”
The second ® is here used for © tien*. A
place for the administration of punishment
seems to have originally been the chief
use of the tien*, but as their civilization
 307

advanced it was used for large gatherings

of any kind. (W. 22 D).

IP, A fence, to inclose.

Yf chip. Radical No. 118, bamboo. (See No. 7).
IP, Phonetic, to part, to separate. (See No.
851).
To separate off, HI IP, a plot of land with
a bamboo it chip fence is the explanation
of this character.

pa1, A bamboo hedge; a species of bamboo

with spines.
^,YS chip, Radical No. 118, bamboo (See No. 7).
pj pa1, Phonetic, a kind of boa (See No. 53).
It may be that a serpent El was selected
for the phonetic because it, like a hedge,
has length without much width; and it
chu2, bamboo, is a common material for a
hedge, or a fence.

p’tP, The vine.

-H* ts’ao3, Radical No. 140, grass or vegetation.
(See No. 22).
It), /Si P’»2> Phonetic, to fall prostrate ; to crawl, as
a child. The *1 pao1 here takes the place
of1, i| chiu1 of the original writing. The
reason for this change is that pao1 is
one of the 214 radicals and 1 chiiP is not.
Thus the meaning was a vine which
spreads 18, ftp. (See No. 416).

Pao1, The grape.

ts'ao\ Radical No. 140, vegetation. (See No.
22).
48. & t’ao2, Phonetic, a furnace for pottery. This
seems to be a simple phonetic. It is a
pictorial representation of a kiln /7
with porcelain .ware inside. (W. 54
D). is a recent character, coined
about-100 B.C. An emperor of the Han
Dynasty in 138 B.C. sent Sg££ Chang1
Ch’ien1, to the region of the Caspian Sea
on a mission and this man brought back
grapes, alfalfa and large horses. He saw
that grapes were good for men and alfalfa
was good tor animals. This man also
established a trade route to that part of
the world. (See Giles’ Biographical Dic¬
tionary, under Chang1 Ch’ien ££, and
K’ang Hsi’s Dictionary under t' ao1.)

yax, To press down, to repress,

i t’a8, Radical No. 32, the earth.
yen4, Phonetic, to dislike, to loathe, to be
satiated. (See No. 841). This phonetic
represents a man whose stomach is dis¬
tended and uncomfortable. The addition
of ± t'u8 earth, may imply that a hole is
to be filled with earth dh and solidly
packed as an over-distended stomach
is packed with food.

pied, A whip.
k&, Radical No. 177, to skin. (See No. 163).
K pied, Phonetic, convenient, ready. (See No*
492). The was originally an instru¬
ment of torture, but it is now used as a
whip for animals. A convenient fig piece
 309

of leather may stimulate, in some,

recollections of a slipper sole.
niri\ You. (A polite term). This is an un¬
authorized character.
hsinx, Radical No. 61, the heart.
^ nP, Phonetic, you. (See No. 3). The addition
of heart hsitP, is intended as a mark of
respect. Some think that the origin of
niri2, was from fifc M np laoz which in the
spoken language was contracted to mir,
and this character was coined for the new
sound,
Pang4, A bath tub.
JUL min3, Radical No. 108, a dish or vessel.
Pang1, Phonetic, hot water, broth, M min3 and
® Pang\ form a good character for the
above ; also read tang*.
hsing*, Form, -figure, shape.
£ shan1 Radical No. 59, feathers, long hair. (See
No. 415).
ch'ien1 Phonetic, two shields of equal height,
(See No. 235). Shields with decorations
in various designs were common. An
article if not decorated is spoken of as
lacking in appearanee or shape.

lie?, Two, a couple. (An unauthorized char¬

acter).
AT jen2, Radical No. 9, a man.
rFi Hang3, Phonetic, two, a pair, an ounce. (See
No. 35).
It is probable that this character was
originally used for two men, but it is now
used for two of anything.
 ching\ Bright sunlight; a view ; appearance ;
circumstances.
0 7/A4, Radical No. 72, the sun. (See No. 12).
^ ching1, Phonetic, the capital. (See No. 98).
When the sun, 0 jih4, is high, ching1
then one can get a view of the landscape
or can learn the appearance of the sur¬
roundings.

wu4, To use great effort and bend the mind to

a subject, to strive after; business, duty,
must.
Ji4, Radical, No. 19, strength. (See No. 212).
^ wa4 Phonetic, to display one’s skill in wielding,
p’u1, arms, 2F mao2, (a three pronged
halberd). The jj A'4, strength, is a modern
addition.

lf[ chieh4, Boundaries which separate men, one

alone; an assistant, one who waits on, to
assist; petty.
s\ jen2, Radical No. 9, a man.
7V pa', Phonetic, eight. (See No. 32). It has no
phonetic power, but in the seal writing it
helps to explain the meaning of the
character. Man, A jen2, is in the center
and the A pa1, separates him from others.
The meaning of to assist has been added
without logical sanction.

shao4, To connect, to join, to tie together, to

hand down as a trade.
szu1, Radical No. 120, silk. (See No. 8).

g chao4, Phonetic, to summon, to call. (See No.

722). The original meaning seems to
 311

have been a father summoning, -0 chao*,

his son and requesting him to continue, jfe
szu\ the family trade or profession.

chi2, Utmost, very.

* mu*, Radical No. 75, wood. (See No. 22).
^ chi* Phonetic, haste, urgent, a struggle for life.
A man who watches for the favorable
opportunity of heaven—and the advan¬
tages of earth.—A man is seen in the seal
writing, between heaven and earth H erh*
(the radical) ; he is striving with voice n,
and hand, j£, to gain his end. (W. 2 D).
With the addition of mu*, a tree, the
character stands for extreme, the very
top. The -tree, in its position between
heaven and earth, attains to a much
higher altitude than does man.

p'an*. To look at, to hope for.

0 mu*, Radical No. 109, the eye. (See No. 102).
ien1, Phonetic, to divide. (See No. 181).
When one hopes B9‘ for something the eye
0, mu*, is prone to spend a portion ft ien1,
of its time looking for it.

ku\ The thighs, the haunches, the rump ; a

division, share ; a band, a gang ; a strand
of a rope.
J=j jou*, Radical No. 130, meat. (See No. 133).
^ shu1 Phonetic, a long pole projecting before a
war-chariot, a spear, to kill. (See No.
165). The meaning in JJJ seems to be
taken from the first definition given, the
thighs are an extension of the body, lhe
 idea of a strand or a part or share seems
to come from an ancient usage of the
word ; the Shuo Wen says that the St sha]
is here used for Jfc sha\ different, to dis¬
tinguish between. The -fibers of a rope are
divided into strands, and a business con¬
cern is made up of a certain number of
shares.

kung’, A mine.
£ shih2, Radical No. 112, stone. (See No. 42).
jg| kuang\ Phonetic, broad. (See No. 696). The
Shuo Wen says that this should be written
Here H, huang2, (See No. 207), is
used for ±, tV, yellow earth, with
sA/A2, metal-bearing stone. Another writ¬
ing is ftf.

Asfi4, A thread, a clue, to succeed to.

TO szu1, Radical No. 120, silk. (See No. 8).
-d=l, /Si c^> Phonetic, this, that, it. This character
was invented to represent a connection
between what has already been said and
what is to follow. The seal writing
indicates that it reaches in two directions,
two crossed branches, and beneath is @
tzft*, contracted, the starting point for
what follows. Thus the composition of
the character indicates the self @ reach¬
ing in all directions in order to find a clue
or trace ^ of the thing desired.

j". chien3, A bamboo slip, to abridge, rude.

,TJ cAu2, Radical No. 118, bamboo. (See No. 7).
B] chien1, Phonetic, between, among. (See No.
 188). Strips were made of the part of
the bamboo ft between HU chien1, the
/ joints, and on these slips directions or
descriptions were written ; if the descripo¬
tion was lengthy the slips were bound up
in book form, but when the description
was kept within the limits of one slip of
bamboo it was regarded as abridged and
eventually the above character took on
that meaning.

ya2, The house or office of an official; a

tribunal.
^ hsing2, hang2, Radical No. 144, to walk, to
act; read hang1 a row, motion. (See No.
161).
TpF wu2 Phonetic, I, my. (See No. 877). The
original phonetic was ya2, a tooth,
something to be dreaded ; it represents
the official. The radical If hang2, a row,
in order, represents the underlings who
are standing at their places in a row on
cither side of the official. It is difficult
to explain how the writing was changed
from to

chingf, The end, finally, only.

jjT /i4, Radical No. 117, to stand. (See No. 216).
By using at //*, as the radical the
etymology has been destroyed. This
character is very similar to chang\ a
chapter. (See No. 87) # yin1, sound,
should be the radical, and below this is
man, Jl, % ching (See No. 875). Another
explanation is, If indicates that this man
 Jl was singing, he sent forth tones,
and we thought only of the melody #;
when the song is completed JS there is a
sense of finality.

tsaP, To select, to pluck.

shoti8, Radical No. 64, the hand. (See No. 53).
ts’aP, Phonetic, to gather, to pluck. (See No.
281). The addition of the #, t’r shou3,
contributes nothing.

hsiang4, The nape of the neck ; a sort: item,

sum, income.
yeh4, Radical No. 181, the head, a page of a
book. (See No. 105).
T kung\ Phonetic, labor. (See No. 89). Owing
to the head, neck and back forming a
notch resembling one side of the radical
kung\ X, this symbol was selected as the
phonetic for the above character. Another
reason given for the selection is that the
nape of the neck is where burdens are
carried, viz., where work, X, kung1, is
done. (W. 82 A).

chingt, A ford, a ferry, a narrows, a mart

where boats stop.
V^,7K shuP, Radical No. 85, w-ater. (See No. 79).
jjfr yu1'4 Phonetic, a stylus. (See No. 7). This
phonetic was formerly chin\ a stylus
$ yiP making marks It was con¬
tracted to ,yii*. There seems to be
much evidence to the effect that originally
this character was written flji, a place
where a boat was sure to be found for
 316

crossing a river. This being a clurasv

character it was contracted until it as¬
sumed its present form.

t V, To charge with, to entrust.

**
v'in2, Radical No. 149, a word. (See No. 10).
t:’o4 Phonetic, to depend on, to engage a sub¬
stitute. (See No. 624). By a word or
command If the responsibility is changed *£
t'o* from one person to another.

ru2, To roam, to wander, to stroll, to travel.

* ft

cho4 Radical No. 162, to run and stop. (See

No. 10).
vti3 Phonetic, the motion of the arms of a
swimmer. (See No. 850). The character
3$g is often used for No. 850 18?. The
cho*, indicates movement, and for moving
from place to place on land, is more
logical than is yti2.

chi1, A machine, a loom, to reveal, a spring.

mu4, Radical No. 75, wood. (See No. 22).
chii, A, Phonetic, few, nearly. (See No. 34).
This phonetic plus wood is used for
machine. The first machines probably
were looms and these were constructed of
wood. A few gfc pieces of wood which
developed movement is a good symbol for
a machine &.

ch'i*, A utensil, an instrument.

cA’uW Radical No. 94, a dog, a pictoria
II»

representation.
ch’i1 Phonetic, many mouths, clamor. Dishes
316

are spoken of as having mouths, thus

each mouth represents a dish. The dog
was added as he was kept to clean up the
dishes after a meal. Another explanation
is, the dog is watchful and careful of
articles he is responsible for; thus here
the dog implies that utensils must be
cared for. There is an old writing |§
c/r’i4, which has the radical foil3, por¬
celain, instead of ch'uatf, which is
more logical, but owing to its being
obsolete it does not help in remembering
the construction of the character.
915
chao*, To illuminate, according to.
>Vk\ * huo3, Radical No. 86, fire. (See No. 482).
U3 chao\ Phonetic, bright, to show forth. This
phonetic is composed of the sun 0, jih*,
and 5 chao*, to call or summon. (See
No. 722). The sun 0 is that which calls
S us in the morning owing to its bright¬
ness 08. When {K. huo3, fire, is added, the
character stands for, to illuminate M.

ching1, Unmixed, fine, essence, semen, vigor.

wf, Radical No. 119, rice (See No. 47).
pf ch'ing1, Phonetic, color of nature, green, blue,
black. (See No. 63). As rice grows in
water the weeds or other grain which are
found in wheat and oats cannot flourish
in a paddy field ; therefore rice is seldom
mixed with other grain, and consequently
it is here used as a symbol of pure or
unadulterated. ch'ing1 is also a symbol
 of purity and these two radicals when
combined form the character for unmixed
or fine.

lien2, To connect, to combine.

er3, Radical No. 128, the ear. (See No. 71).
kuan1 Phonetic, to run threads through the
web. (See No. 95). With the addition
of 5 er8, ear, one is inclined to believe,
that this character was first used for the
collecting of evidence, combining the state¬
ments of different individuals.

shuang', Cheerful, quick, crisp.

yao2 Radical No. 89, to mix, to lay crosswise.
ta*, Phonetic, large. (See No. 54),—without
phonetic force. The two 3Lyao* represent
the lattice work of a window and as this
is large, ~k, ta*. enough to admit light
and air the occupants of the room are not
gloomy and despondent. Or, a man ic
acting it with both arms. (W. 39 0).

huo*, To catch, to obtain.

% ch’iian3 Radical No. 94, a dog. Pictorial re¬
presentation.
M huo1 Phonetic, to seize with the hand %, as an
owl chui1 seizes its prey. With -Jt ch’uan*
added the character was probably first
used for getting game in the chase with
the help of a hound. It is now used for,
getting or obtaining, in general. (W103 C).

tsn1, To rent; or tax in kind from fields, to

lease ; taxes.
318

* bo*, Radical No. 115, standing grain. (See

No. 556).N
JL tsu3 Phonetic, a stand used in sacrifice (tsas,
archaic pronunciation, now read ch'ieh3
and chu*). In M M i£ is the following
statement: 13. tsu1 was originally the
land tax ffl fieri* fu4. It was originally
written 1L tsu1. Land rent was spoken
of as the portion of grain ho*, used
as an offering in the ancestral temple.
The character 13. is now used for any rent
or tax.

ku*, To look after, to regard, to consider.

g[ yeh4, Radical No. 181, the head, the page of a
book. (See No. 105).
@ ku4, Phonetic, to hire, to engage. (See No.
361). With M yeh4, head, added the idea
of, to look after or consider, is expressed.
If a person heeded M the migration of
these birds M as explained under No. 361,
he took the warning to heart M yeh4, and
acted on it.

hsiang, Sound, noise, reverberation.

E3 y^1, Radical No. 180, a sound. (See No. 39).
hsiang1, Phonetic, village, country, rustic.
(See No. 466). The Chinese divide sound
in to two kinds, $ hsiang3, a nonmusical
sound, and ff- yin1, a musical sound.
When a sound comes to the ear it is M
shing1. The etymology set forth in Is fj|
3C is that hsiang is the abode of
people and when If- yin1 is added it stands
for the home of sound or its origin. When
 319

one hears a sound he may go in that

direction and may find it was a clock
striking, and he will say Jjk It 65
923
&
>
chiieh2, To decide ; to pass sentence; certainly.
? pillar Radical No. 15, ice. (See No. 516).
chiieh2, Phonetic, to cut off, to decide, to settle,
certainly. This phonetic is described
under No. 109, an additional meaning
seems reasonable according to ^
to split with a wedge. The act of split¬
ting a log is suddenly accomplished and
once done there is no way of uniting it
again. With ice as the radical it suggests
a familiar winter sight, cracks or fissures
iti thick ice. With water which is also
used as the radical, it indicates a break in
a river bank, a condition once established,
there was no question as to its existence.
924
chang8, The palm of the hand, to control.
^ shou8, Radical No. 64, the hand. (See No. 53).
shang, Phonetic, a roof of a house. (See No.
52). When the hand is placed palm
downwards and fingers act as pillars, the
palm assumes the shape of a roof.

kuei*, A case with drawers, a chest, a trea¬

sury.
* mu*, Radical No. 75, wood. (See No. 22).
ng: kuei*' k’iiei*, Phonetic, a case with drawers.
Read k'uei*, wearied. This phonetic is
made up of C, fang, a wooden trough,
a log hollowed out, by extension, a chest,
a trunk, (W. 51 A), and H, kuei*, expen-
 320

sive, honorable. (See No. 863). This

phonetic itself sets forth the meaning:—
something valuable is placed in a chest or
case, and the addition of A, mu4, is super¬
fluous.

926 cA’i, 1>2’4’ A relative, grieved.

ko1, Radical No. 62, a spear, a lance. (See
No. 2). That which remains after taking
out the radical is not a regular phonetic.
The radical is not. the regular *5, kox, as
can be seen in the seal writing. The
original meaning was a battle ax and
it had sAu2, (contracted) to pick beans,
(See No. 547) in the center. It may have*
been a weapon which was used both in
military and agricultural pursuits, and so
always at hand in time of war or peace ;
hence its use as a symbol for relatives
who are always at hand. The meaning
of grieved is explained in the |£ % Shuo
Wen thus Owing to its being a weapon
of war, it caused a pang of regret to arise
when seen.
927 Si
TT, *51 kan*, To attend to, business.
kan1, Radical No. 51, arms, a crime. (See No.
110 ).
kan* Phonetic, the sun 0 penetrating into
A A, jux the jungle T and drawing up
the vapor 5. (See No. 137). The action
of the sun is transferred to a man who
has a ^ kan*, a stick in hand. (See
No. 110). The seal writing represents
the overhanging branch about to take
 321

root, the form with A ju4, to enter, re¬

presents the tree as rooted and separated
, ' from the parent tree.

/an4, To overflow, profuse.

7JC ^ shut*, Radical No. 85, water. (See No. 79).
chicn1, Phonetic, to watch, a prison. (See No.
294).
When the water of a river is confined
within its banks it is where it should be,
but when it breaks over ilt, it is like a
criminal who has broken jail.

k'uei\ Wanting, defective ; a grievance.

huz Radical No. 141, a tiger, a tiger skin.
(See No. 258).
This cannot be broken up into radical
and phonetic. Perhaps the character
was coined to accord with the expression
hsing2 weP itP htP, “He acts
like a tiger,” a man who is not governed
by rules of propriety. The # chui\ a
short-tailed bird, is used to impersonate a
man.
yii\ is the breath overcoming an obstacle.
Thus the character represents one who
overcomes any compunctions of conscience
and, like a tiger, forgets all kindnesses
and does violence to friend or foe.

chuang4, Appearance, complaint, a law suit.

^ ch'uan3 Radical No. 94, a dog. Pictorial cha¬
racter.
ctiiang1 Phonetic, the left half of a tree. (See
No. 84). The Shuo Wen explains
 this character thus :—There is no animal
the offspring of which more strikingly
resemble in appearance the father or
mother than the offspring of dogs ; there¬
fore the selection of this radical. The one
half of a log rl, also has a striking resem¬
blance to the other half.

Juan4, Confusion, disarranged, anarchy.

i1 Radical No. 5, germination, movement.
(See No. 137).
3§ fean4 Phonetic, a thread X S being disentan¬
gled by two hands The rack H on
which the thread is suspended is probably
the loom. The L is £., i1, which repre¬
sents the thread being drawn out. (W. 90
B). (Archaic meaning, to put in order).

yuan4, To dislike, ill will.

Asia1, Radical No. 61, heart. (See No. 18).
££ yuan1 Phonetic, to turn in bed, decency. (See
No. 42). This character is explained by
starting with jfr hsin1, the heart; the feel¬
ings are hurt and consequently the person
turns away 9 hsi1, acts as if it were
night, and has nothing more to do ]J, E
chieh2, with the one who has done the
injury.

hui, Converge, deposit, a draft; to send

money by draft.
I—1 fang1 Radical No. 22, a chest, a log hollowed
out. (W. 51 A).
$1 huaP Phonetic, the name of a large river in
Honan and Anhwei. It mav have receiv—
 323

cd this name owing to the great number

of water fowl in this region. The C
fang1, a chest or receptacle, (See No. 925)
indicates that a large amount of water
must be confined with banks. The $1 is
an incorrect writing.

an4’ en4, To lay hand on, according to.

shoti8, Radical No. 64, the hand. (See No. 53).
an1, Phonetic, peace, quiet. This phonetic
shows how women were regarded. If
she, ic was in the house all was peace¬
ful, but if not, the opposite condition
obtained as she would stir up trouble.
The Shuo Wen says in explanation of
tfc an4:—if one uses the hand and holds
on to his goods, keeping them in their
proper place, he also will receive advan¬
tage from this course of action.

chief?, To lessen, to diminish.

shuP, Radical No. 85, water. (See No. 79).
hsien2 Phonetic, to bite, to wound with the
mouth ; modern meaning, all. (See No.
305). The Shuo1 Wen2 simply affirms
that this character is arbitrarily used for
the above meaning; consequent^ no
logical reason for the combination is set
forth. Water is the radical and ^ is a
simple phonetic.

It A grain, a hundredth, tenth of a cash.

Radical No. 166, a village, a Chinese mile.
S »•
(See No. 82).
IP Phonetic, to cut down, to diminish. This
 is composed of »i, to cut down a big tree
we/J, r .represents its falling. (W. 120
C). This character was originally used
for*another meaning, but it has long been
used for the above. A I is a plot of
ground divided into small fields. The
tree is fallen and split into small frag¬
ments and one of these can be regarded
as a grain

tan1, Single, odd, thin, only, but; a list, a bill.

P k’oii\ Radical No. 30. the mouth. (See No.
17). This is a character which originally
represented a quarrel hsiian1, two
mouths, and an assault with a shovel
pan1 or pitchfork. (W. 72 E). It
has long since lo.st this meaning and is
used for single, odd, and so forth. The
original meaning of the phonetic is seen
in the following characters, tanx a
crossbow, a bullet, a shell, and chan\
to fight.

pao9, To protect.
l.A /en2, Radical No. 9, a man.
^ tai1, Phonetic, an idiot. This was arbitrarily
given to this character. The real phonetic
Is /ft pao9. A bird spreading its wings
to cover its nest. Another older writing
is £» a hen covering her young to protect
them. This originally did not have a \
jen\ at the side. The idea was to protect
as a hen protects her young. (W. 94 C)

To connect, to implicate, often, weary.

Radical No. 120, silk. (See No. 141).
 825

pj t'ien2, Phonetic, a field. (See No. 212). This

was originally lei2, three articles con¬
nected or tied together. Because of.the
difficulty of writing, these have been
reduced to 19 and the etymology lost.
The was that which held the articles
together.

chuf, A pledge, to pawn, hanging on, repeti¬

tion.
^ pei4, Radical No. 154, precious. (See No. 38).
ao2 Phonetic, to go out for a stroll, it should
be written to go out for relaxation
Jfc fangS as animals are let out to pasture,
and will return again. (See No. 147).
With the addition of K pei*, valuable,
(See No. 38), it was used for a security
left in the hands of a person from whom
something has been borrowed.
The meaning of repetition may have
originated owing to the repeated entreaty
of the borrower to recover the article
pledged before the loan was refunded.

ts'ang2} To conceal, to store up.

-H* ts'acf, Radical No. 140, grass. (See No. 22).
^ tsang1 Phonetic, good, generous, compli¬
ance, the virtue of ministers. M elf i-
ang2, which often means strength, and ‘5
ko1, weapon, when united form JR ch'i-
ang1, to do violence to.. When E? ch’cri’,
a minister, is added this force and violence
is only used in accordance with the
benign purposes of the official who
watches and defends the state. When ^
326
ts’ao*, is added it means covered with
grass, to store up, to conceal. Perhaps
this phonetic was chosen owing to the
mystery attending government action.

hao4, To squander, to consume ; bad.

leP, Radical No. 127, a plow. (See No. 601).
3^ mao2, Phonetic, a hair. (See No. 254).
The Shtio Wen claims that the radical of
this character should not be leP but
ho2, Thus the original idea was the
beard or husk T- of grain 7fc, the chaff;
grain threshed and removed, nothing but
the chaffy remained.

chang4, To overflow, an inundation,

y" shuP, Radical No. 85, water. (See No. 79).
jjjg
chang1, Phonetic, to draw a bow ; to extend,
increase; a classifier of tables; paper, a
surname. (See No. 55).
Water # increases and extends 3f| over
the surface of the land.

k}ou4, To knock, to deduct, to hook on, to

buckle, to button, a discount.
shotP, Radical No. 64, the hand. (See No.
53).
D k’otP, Phonetic, the mouth. (See No. 17).
This combination In was originally used
for the governing of a horse with bit and
bridle. The hand exerted influence
on the mouth CJ of the horse. The idea
of to buckle or to button may have
originated from the necessity of putting
the bridle over the head of the beast.
 327

The bridle once on the animal had to do

what the driver desired. Discounts are
exacted by those who have power over
another.

__ hsiang2, Felicity, good luck.

7J^ shih4, Radical No. 113, to show, a revelation.
(See No. 164).
■^F yang-, Phonetic, a sheep. (See No. 253).
Most of the characters which have
yang2, for a phonetic have a good mean¬
ing. Thus, this combination stands for a
fortunate or auspicious revelation

tuan4, Satin.
szu\ Radical No. 120, silk. (See No. 8).
tuan4, Phonetic, a fragment, a section. The
left part of this phonetic is said to be a
contraction of !§■ fa tuan4, origin, a plant
which develops both above and under the
ground. The right side is shu2. (See
No. 165). This combination indicates
that the plant has been violently torn to
pieces. It may have been selected because
in the manufacture of silk the cocoon is
thrown into hot water; the chrysalis is
killed, the thread unwound, thus destroy¬
ing the cocoon.

p’ei1, A pendant, to hang on the girdle, to

esteem.
jen2, Radical No. 9, man.
The phonetic is not found in K’ang Hsi’s
dictionary. It is composed of A fan2, all,
and rfj chin1, cloth, and is supposed to
 represent the small ornaments hanging
from the girdle ft) chin1, fl, ft (W. 21
D). When a gentleman went out he
always wore ornaments on the girdle.
These ornaments he selected because he
admired them ; by extension this charac¬
ter is now used to express satisfaction
with a person or things.

chuan*, To sell at a profit, to make money,

gain;
Js pei4, Radical No. 154, precious. (See No. 38),
chien1, Phonetic, to join together; together
with, both. This is a hand holding two
stalks of grain, a hand binding sheaves.
(W. 44 I). The idea of this combination
01 is to increase the investment H, to
double ^ it.

huo1, To open out, liberal; to remit.

41 $

kun, Radical No. 150, a valley. (See No. 579).

hai4 ho\ Phonetic, to injure. (See No. 436).
This character $8 seems to have two ex¬
planations :
1. A person has met with misfortune W
hai* or ho4, and others have opened ^
kuz, their hand liberally for his assistance.
2. One has a calamity W ho4, such as a
harelip, # ch'iao4, the upper lip. A person
who has a harelip is spoken of as a
huo1 tzu'. (See No. 509). ^ ch'iao4 not
being a radical ^ kus, was substituted.
chih\ A bough, to prop up, a branch, to ad¬
vance money, to draw money.
This is the 65th radical. The old writ-
 329

ing represents a hand pulling a bough

from a tree. (W. 43 C). The reason
/ why this character is used to express
giving out money is because the tree puts
forth branches from the trunk. Note the
phrase to1 huo1 ch'ang* chili\ to
generously overlook the debts of clerks,
who have borrowed from the employer
more money than their wages amount to.
At the end of a prosperous year these
sums are not collected.

t’r, To take up, to suggest; to bring forward.

^ shouRadical No. 64, the hand. (See No. 53).
shih*, Phonetic, right. (See No. 12). With¬
out phonetic significance. To take up iH
that which is proper ;H; in order to teach
or instruct.

shih*, To paint, to ornament, to adorn, to

pretend.
^ shih1*, Radical No. 184, food, to eat; eclipse.
(See No. 75).
This character is an exception to the rule,
as the radical is also the phonetic. In
sacrificing an animal it was put before
the gods and afterwards eaten. This
accounts for the use of it shih*, as
radical. The rest of the character is ft.
The upper part is a man and the lower is
a cloth ; before sacrificing the beast a man
with a cloth cleansed it and thus im¬
proved its appearance. By extension, to
adorn.
 i4, Skill, an art,

#*
ts'ao3, Radical No. 140, grass. (See No. 22).
j4 Phonetic, to plant, to cultivate the
ground. This is from ft lu4, mushroom.
(See No. 485)r and db fa3 earth which
form iu4, arable land, M lu4, dry land,
(mushrooms grow on high land), and % R
chi4, to hold an instrument or utensil in
the hand. Working the soil was the first
art practiced by the Chinese. (See No.
139). The ts’ao3, and 5c jrazf* have
been recently added, 5? yun2, cloud, is
composed of H shang4 (See No. 93), and
% L\ vapor, rising and forming clouds.
Thus the character for farming is compos¬
ed of ^ vegetation, tilling the soil and
S clouds which give rain, without which
all effort is vain.

tsan4, A fine chisel; to engrave.

cfain1, Radical No. 167, metal. (See No. 13).
j||j chan3 4, Phonetic, to decapitate, to cut in two.
(See No. 803). A metal instrument used
for cutting. This utensil is smaller
than the ordinary carpenter’s chisel; it is
used in the manufacture of jewelry in the
# f$ shou3 shih4 shops.

pa1, To root up, to draw up or out; to

elevate, promote.
shou3, Radical No. 64, the hand. (See No. 53).
^ pa2 Phonetic, a dog led by a leash. (See No.
626). This leash enabled one to pull or
haul the dog around at will and thus the
 331

above meaning has been given to this

combination.

szu1, Silk as it comes from the cocoons, fine,

wire.
szu1 mi4 Radical No. 120, silk. (See No. 8).
^ mi4 Phonetic. (See No. 141).
The second writing $$ is not allowed by
K’ang Hsi. This character was one of
the original 540 radicals. The repetition
of & mi4 indicates that it is not a single
thread from a cocoon, but several, ten*
are supposed to be required to form a Ifc
szu1. In characters which use the ^ hsi4
phonetic there is a figurative or real con¬
nection. M sun1, a grandson ; 1$ hsien4, a
district, (See No. 390) ; here the criminal’s
head is hung up for exhibition.

ban4, To solder.
chin1, Radical No. 167, metal. (See No. 13).
jp han4, Phonetic, the torrid effect of the sun,
drought. (See No. 343). Great heat is
required to melt the solder.
yao1, To engage, to seek, to invite.
^ cho4 Radical No. 162, to run and stop. (See
No. 10).
ItSC yao4 Phonetic, to shine. This is made up
from fit fang4, to liberate, (See No. 147
and No. 712) and paP, white or light;
the meaning is, to shine. When cho4,
is added the idea is to go to the one who
can give you light or help. A person is
engaged because he can give assistance,
shed light, make conditions better.
 ta\ To add to, to pile up.
4^, ^ shou3, Radical No. 64, the hand. (See No. 53).
^ ta' Phonetic, vetch, peas, vegetation the
branches of which get entangled, (W. 14
B). The pea vines and vetch extend, far
from the stalk adding joint after joint
and thus with the addition of f shou3, a
character is formed which means, to add
to. This character is unauthorized.

no2, To move, to remove.

4^ ^ shou3, Radical No. 64, the hand. (See No. 53).
na4, Phonetic, that; a place IS H where people
wore skins with the hair out for cloth¬
ing. It may be that this people were
nomadic and thus with the addition of
hand the character is used for the
above meanings. It is an unauthorized
character.

chan4, A storehouse.
* mu4, Radical No. 75, wood. (See No. 22).
chien1 Phonetic, to destroy, narrow, small.
(See No. 13). This character was origi¬
nally used for a small frame platform
built in the camp to protect an officer
while sleeping from attack, and from the
moisture of the ground. It was also used
for a lookout during military operations.
By extension it is now used for a store¬
house, as goods in a $£ chan4, are suppos¬
ed to be secure.
\

san3’4, Miscellaneous, to fall apart; separate ;

a powder.
 333

p u1 Radical No. 66, (contracted) to tap, to

rap. (See No. 17). The original phonetic is
destroyed by using pV as the radical for
/ ' classification in modern dictionaries. j&, H,
jou1, meat, should be the radical and V&san4,
to beat £. hemp stalks p'ai4 to cause the
threads to separate, is the real phonetic.
(See No. 24). When ft jou1, meat, is
added the character was used for beating
meat to cause it to separate into shreds
for cooking. By extension it is now used
for the separation of anything. (W. 79
H).

hsieh4, To lay aside, unload.

chieh2 Radical No. 26, a seal, a tally. (See No.
42). The phonetic part of this character
is not used alone and therefore has no pro¬
nunciation. The upper part is 4F wii\ (See
No. 190), one of the twelve stems; each
stem stands for an animal and the one
which is associated with wu3, is the
horse Mf, mai\ This stem is easier to
write than horse and is therefore substi¬
tuted for the latter. The ik chih3, to stop,
with this stem implies stopping the horse
and taking off his burden. The P chieh2,
indicates that this is done at fixed inter¬
vals on the journey.
964
wti4, A thing, an article.
niu2, Radical No. 93, a cow, an ox. (See No.
50).
wu4 Phonetic, a negative, do not; a flag with
three pennons, usually used to indicate a
334

prohibition. An ox, T, niu4, was the

most valuable asset in ancient times.
The addition of the flag to the ox may
have indicated its importance—it was not
to be disposed of. This character is now
used for any article, regardless of value.
965
m t'ang1, Sugar, malt candy ; glazed with sugar.
^ mi* Radical No. 119 rice. (See No. 47).
BM t'ang1 Phonetic, boasting talk, a dynasty ; the
song P of men working in unison, as
in pounding (rice) HI p\ keng1 with a
heavy stone pestle ■¥■ kan\ This phonetic
may have been selected as the preparing
of grain for malt candy requires that it
be crushed ; in this process large stone
mortars may have been employed and
several men manipulated the heavy
pestles, who exerted strength according
to the rhythm of a song. (W. 102 B).
Hsu Shih Shuo Wen makes the following
comment: mm mf nieh4, chien1 jrehz,
“ After the rice has sprouted it is heated.”
j*£ I? ■§“ *i. “ (Candy) can be made
from cane, from honey, from millet and
from wheat.” The sugar (candy) made
from millet and wheat was called fp i3.
This indicates that as early as the Han
Dynasty 200 B. C., the Chinese were
making malt candy, but it was then a
recent discovery, as the writer Hsii Shih
says that $§ t'ang2, is a character recently
added.
966
ut p'P, To criticise, to arrange for the purchase of.
^ (^ shotf, Radical No. 64, the hand. (See No. 53).
0* (t(\ ^>^lone^c’to compare. Two A characters
reversed and standing together as if com¬
paring their height or strength. When
i shous, is added the idea of criticising is
given to this combination. In criticising
one generally states what has been done
and afterwards sets forth what should
have been done; thus bringing out a
comparison.

p’i2, The spleen, temper.

joiP, Radical No. 130, meat. (See No. 133),
pei1, p’P pi1 Phonetic, p’i2, lassitude, pei1, base?
low, vulgar, (See No. 526). This phone¬
tic may have beetr given because the
spleen is lax or soft in texture. The
spleen was supposed to aid the stomach
in the work of digestion. It is located on
the left of the stomach and as ^ pei1, was
a drinking vessel with a handle on the
left, this may have been another reason
for the use of this phonetic.

otP, An image, a pair, paired ; sudden, acci¬

dental.
"f 7*cn2, Radical No. 9, a man.
yu2 Phonetic, an image, (archaic) (See No.
860).
The origin of this phonetic is not the
same as of the phonetic in the 860th cha¬
racter. The two are identical in modern
writing and even in the old writing they
are frequently interchanged. J§£ yu*} to
dwell in, is the correct writing for this
 character according to the oldest authori¬
ties. When an image of a man was carv¬
ed out of wood they believed that the
spirit of the individual dwelt in this
image. The yii2, impersonates the
spirit. With the addition of \ jen2, there
would be a pair. To use for “ sudden ”
is arbitrary.

chin*, To ride in a carriage, to harness ; Your

Honour.
wf ma3, Radical No. 187, ahorse. (See No. 261).
j)f] chia\ Phonetic, to add to. (See No. 318).
This combination was first used for har¬
nessing animals to a vehicle:—to add M
the horses to the carriage.

chiVy To harden by pounding, as a threshing

floor, to make mud walls, to build.
11 chu\ Radical No. 118, bamboo. (See No. 7).
THj k’ung3 Phonetie, to undertake. (See No. 518).
This is not a complete phonetic as we
have to add * mu\ wood, to it before it
is finished. It was used for the ramparts
or fortifications used in warfare, and the
** chtr, was originally M, wooden racks
placed on top of the wall to prevent the
enemy from climbiiig over. The * mu\
is said to be the short logs which were
used to ram the earth into a solid mass.

we/3, To submit, a grievance ; to depute.

nii3, Radical No. 39, la woman. (See No. 16).
^ ho\ Phonetic, grain, (archaic phonetic
sui4), (See No. 771). This is a proper pho-
 337

netic and indicates the heads of millet

etc. being gathered. This character has
two distinct meanings and may have
/
originated in different places.
1. To submit. The heads of grain hung
drooping: when niiz, was added to
this it was taken as the symbol of the
proper attitude of woman, she should
acquiesce even to unreasonable demands
from her husband.
2. The grain % ho2, was stored at home
and given 'into the care of the women
when the male members of the household
had to leave on business :—thus the mean¬
ing of depute.
972
ti\ To hand to or transmit.
cho4 Radical No, 162, to go. (See No. 10).
ti1 Phonetic, a beast like a tiger,, with horns.
An examination of the characters which
use this phonetic show that there is no
common idea attached to them. It is
therefore necessary to regard it as a simple
phonetic. It seems to have been used in
connection with the sending of messages.
The cho4, indicates that originally it
might have necessitated a journey. At
present it is used for, to hand to.
973
p'ien\ Inclined to one side ; partial prejudiced.
TA jen\ Radical No. 9, a man.
pjen* Phonetic, a tablet hung over a door.
From P ha* a door and # ts’e4, inscribed
bamboo slips. (W. 156 D). As these
tablets are always hung with the lower
338

edge against the wall and the upper edge

some inches away from it, they are taken
as the symbol for not straight, inclined.
And when man, i, jen\ is added he
takes on this quality of deflection.

974 $J Jp Laws, regulations ; custom.

/f f jin2 Radical No. 9, a man.
^|J Heh* Phonetic, to divide, seriatim, arrangejin
' order. (See No. 711). This is not an old
character. It is explained thus: the
crimes taP, of a man i jen2, are sepa¬
rated !l tao1, and placed in order lieh*,
and the law is administered accordingly.

976 ^ furi To swallow, to gulp down ; to absorb,

grasp.
0 Fou8, Radical No. 30, the mouth. (See No.

. 17)*

fieri1, Phonetic, the heaven. (See No. 113).

This character # is explained in two
different ways : fieri1, heaven, the sky,
envelopes all. It appears like a huge
mouth about to swallow everything.
The second explanation commences with
" P, one, and jc ta*, great or large, and
n Fo«8, swallowing in one big mouthful.
976
pi*, Used up, deteriorated, vicious; my ;
mine.
"ft kung* Radical No. 55, hands joined and held
up. (See No. £47).
pi4, Phonetic, mean, poor, ruined, my, mine.
(See No. 211). The character ^was ori¬
ginally written with ch’iiarf, a dog,
 339

instead of ;ft* kung3. It indicated that

the dog was dead and useless. The old
writing is now never seen. The present
writing is two hands if exhibiting a
garment which has been worn to shreds
, by beating X.

p’eP, Lose money; indemnify.

pei4, Radical No. 154, precious. (See No. 38).
foil1 Phonetic, to cut a speaker short. (See
No. 332). Here the phonetic is used to
indicate that something has been injured
or a business has not been successful;
with the addition of jl pei4, it indicates
that money has been lost—by extension,
the giving of money as indemnity.

ctiang\ To restore, to forfeit, to atone,

f A ;en2, Radical No. 9, a man.
shangf, Phonetic, to bestow. (See No. 596).
* The addition of i jetP, forms the charac¬
ter which is used for restoring or making
amends.

me/2, Eye brows.

g mu4, Radical No. 109, the eye. (See No. 102).
This is an old character and cannot be
divided into radical and phonetic. The
top of the old writing £ indicates the
wrinkles above the eyebrows on the fore¬
head : the f is the eyebrow and 0. ©
mu4, is the eye. The present form is an
arbitrary modification, and the above
features are largely lost.

chart, To usurp, to seize.

A4 jen*, Radical No. 9, a man.
chan*•4, Phonetic, to inquire about some enter¬
prise by heating a tortoise shell, divi¬
nation ; to usurp. (SeeNo. 132). Theft
is an unauthorized character and is not
described in the Shuo Wen. It seems to
have been invented to make a distinction
between the two meanings of the charac¬
ter chan1'4 the meaning of the 1st tone
is to divine, of the 4th tone is to usurp.

tin*, To lease, to rent.

J| pei\ Radical No. 154, precious. (See No. 38).
/j-fc j^n*) Phonetic,, a man — carrying a load sus¬
pended from the two ends of a pole I,
a load, a burden :£. When i jcn27 is
added the burden is transferred to another
A, hence the meaning, a trust, office.
(W. 82 C). With the addition of JI pei4,
there is an obligation of money which
has been contracted for value received.

kuang*, To ramble, to stroll.

L cho* Radical, No. 162, to go. (See No. 10).
JE k’uang2, Phonetic, mad, wild, raging. (See
No. 794). 1 he is an uuauthorized cha¬
racter. 1 he combination indicates travel—
ing in any direction the fancy may deter¬
mine.
!

t'zu2, Porcelain, china ware.

& Radical No. 98, tile. (See No. 558).
A Phonetic, inferior. From CK ctiierf, de¬
ficient. (See No. 273). With the addi¬
tion of — e/*, two, second, inferior. The
 first is regarded as the best, the second is
inferior. Formerly vessels were made of
gold, silver and wood; when crockery
ware was substituted it was regarded as
inferior. is an unauthorized writing.

wan4, A toy, to play.

EEl, EE yu\ Radical, No. 96, jade. (See No. 124).
yuan2, Phonetic, the first. (See No. 93).
Here this phonetic stands for the highest
quality. When 3£ yu\ jade, is added it
implies the best jade. Cheap or inferior
jade is not prized. Trinkets such as
beads and rings have been used to desig¬
nate rank from prehistoric times and the
word 5c wan4, was first employed as the
term for such articles, but is now used for
toy or plaything.

p’/en1, The leaf of a book.

cfiu2, Radical No. 118, bamboo (See No. 7).
pien3, Phonetic, a tablet. (See No. 513).
These tablets are made of board and are
thin in comparison with their length and
width. With the addition of bamboo j’f
this is the character for a leaf of a bamboo
book. These books were made of slips of
bamboo and tied together. After paper
came into use for making books the same
character was retained for leaf.

shua3, To sport, to fence, to play.

m er2, Radical No. 126, the whiskers (archaic),
(See No. 635).
nii3, Phonetic, a woman. This is a modern
 character. To play, to act. Chinese ac¬
tors use false beards and others dress up
in female costumes and personate women.
Thus the two characters M er2, whiskers,
and ic niP, women, form the character
for, to act. The character, by extension,
is now used for practicing any handicraft
as an occupation. (W. 164 A).

chuan3, To turn over, to revolve ; to forward.

l|| che\ Radical No. 159, a cart. (See No. 136).
gf chuan\ Phonetic, singly, specially, bent on
one object. (See No. 414). This phone¬
tic plus cart $ forms the character to
revolve as the wheels of a cart have but
a single function, i.e. to revolve.

ch’ih2, Slow, late, steady ; to procrastinate.

cho* Radical No. 162, to go. (See No. 10).
H hsi1 Phonetic, a rhinoceros. The f* shift, is
the body and * is a contraction of -%
mao2, hair. These, when used together
W simply indicate that the animal has a
tail. 41 niu2 added places the animal in
the bovine class. (The Chinese are not
very careful in their classification of ani¬
mals.) This beast when not enraged
moves about slowly. Thus cho4, to
move, with the above phonetic makes a
good character for slow.

lii4, To care for, anxious; to cogitate.

bsint> Radical No. 61, the heart. (See No. 18).
This character cannot be divided into
radical and phonetic. It is composed of
 343

J© & szu1, to think, head and heart (See No.

45). When hu%, tiger, (See No. 258),
is added the idea is conveyed that the
thoughts are turned to things which
trouble—tigers are greatly dreaded.

/an4, To traffic, to deal in.

pci\ Radical No, 154, precious. (See No. 38).
fans, Phonetic, to turn. (See No. 75).
To turn goods into money K pci4, is the
purpose of a merchant.

mo4 Dial4, The pulse.

|^j ^ jou4, Radical No. 130, meat. (See No. 133).
JkM p'ai4, Phonetic, water separating into smaller
v streams. This is & yungf, a constantly
flowing spring, reversed, the flow is still
constant, but as it leaves the spring it
divides up into several streams. (This
character is also written with ifii. as the
radical.) The idea is that the pulse
(arteries) break up into innumerable small
arteries and are distributed through the
flesh.
chiian4, To love, to care for, family.
mu4, Radical No. 109, the eye. (See No. 102).
chiian4 Phonetic, to pick and cull. (W. 47
K). This is made up of ^ pien4, the
tracks of a wild animal, (See No 801),
to discriminate, and hands ft, i. e. to
select with the hands. Adding g mu4,
the eye, we have # to look out for
those whom one loves and is responsible
for. In modern writing chiian is iden¬
tical with the phonetic of No. 609
 sheng* but the seal writing shows one to
be from JH huos and the other from p/en4.
sai\ Bits, fragments, petty.

3>irt
shih2, Radical No. 112, a stone. (See No. 42).
tsu2’4 Phonetic, to die. This is made up of ^
i\ clothing, and a /, a stroke across
the back to indicate the wearer was a
soldier. When a man swore allegiance to
a prince or feudal lord he was regarded
as having died; he was free from all
previous obligation and he henceforth had
no will of his own, he did what his lord
bade him ; he was but a fragment of a
man, a stone 15 shih2, is used for breaking
or crushing.
t’e4, Specially, purposely, only.
nili2, Radical No. 93, ox. (See No. 50).
f!jp: szu4, Phonetic, a court, a temple. (See No.
346). This character seems to indicate
that in ancient times the Chinese were
particular about the quality of animals
used in sacrifice. The color was also
decided on by the court ^ szu*. Thus
4 niu2, when added indicated an animal
which, owing to its fulfilling all require¬
ments, was set aside for a sacrifice ; now
by extension used for specially.

yen4, A trust, responsibility, an office.

A jen2, Radical No. 9, a man.
=£ jen2, Phonetic, a trust, office, (See No. 981)-
Originally this Character was used with¬
out the i jen2.
chii8, To raise, to lift up, to introduce to.
 345

j£j chiu4 Radical No. 134, a mortar. (See No.

479). This is another character which
has arbitrarily received a radical foreign
to the original construction. The char¬
acter is made up of M yu\ to give, and
4 £ shou3, hand the meaning is, to raise,
to lift up, etc.

shih*, To try, to test, to verify.

fBW

yin3. Radical No. 149, a word. (See No. 10).

shih\ Phonetic, a form, a pattern. (See No.
576). The If yen2, word, seems to imply
that the one who is to undertake to make
an article according to the pattern is ask¬
ing questions before he undertakes the
task, thus securing the experience of
others in addition to the ocular demonst¬
ration, thereby verifying his ideas as to
the mode of procedure.

pul, A step, a pace, infantry. (See 484).

chih3 Radical No. 77, to stop. (See No. 10).
The phonetic part of this character is not
used alone. It is Jk chih3, to stop, invert¬
ed, which indicates the reverse of Ik chih3,
or to move. In walking first this foot is
advancing while that is stationary ; then
that foot is advancing while this is sta¬
tionary.

titt, To cast away, to lose, to leave behind.

—* i1, Radical No. 1, one. (See No. 19).
^ ch'ii\ Phonetic, to go. (See No. 67).
To go ch'u\ once — i\ to go one long
journey and not return is to lose.
346

lw>K X chin6, A long time, long since.

p'ieh1 Radical No. 4, a stroke to the left.
(See No. 176).
This cannot be broken up into radical and
phonetic. The seal writing represents a
man who is impeded in his walking by a
train. Thus we have the idea of a long
time, as it requires him to move slowly
and much time is needed to walk a short
distance.

wer, To oppose, to disobey.

choi Radical No. 162, to go. (See No. 10).
weP Phonetic, thongs, refractory, a surname.
(See No. 772). This phonetic is sugges¬
tive, when cho, is added it implies
active disobedience, disorderliness.

io4, To fall, to drop.

ts’ao5, Radical No. 140, grass. (See No. 22).
loA Phonetic (Archaic), a trench for irrigation,
water used by each man #, Each
man’s field was separated from his neigh¬
bor’s by these trenches ; thus the idea of
separation is conveyed. With the addi¬
tion of ** ts’ao9, it was used for the fall¬
ing of leaves in the autumn; they fall
when separated from the stem. (W. 31
B). Now this is used for the falling of
anything.

\
 347

ALPHABETICAL INDEX.
/ '

AI CHAN CHAO * 218 [129 r

74 m 262
532 (132 l191 1[ 47
ctf
(178
Jk 673 » 733 *

$ 532 822 213 47 CH’IA

281
B 273 980 309 129 f 54
112 HI fa 852
273 % 275
722 % 273 * 1(300
m 770
961 300
» 722 CH’EN [324 «
AN 242 & 1 18 * 539 CHI ANO
R3 915 £ f294
^ 934 He 47
&* 934
937
803
H8 915
E \120
122
r 437 ft

282 M 84
246 ft fiu 114 jfB

% 857 m 803 122 544 m 854

333 ft 114 ft
& HP E 419
Bg 383 m 767 733 ft 582
333 Ft 507 $ 621
733 455
464 m
ft
ANO CH’AN fi 775
373 747
|$ 621
w 733 139
277 JEL ft 854
X|1 827 4 844 842
CH’AO ft ft 139 m
S 232
CHANG $ 926
AO ffi 34 If 148
pj> 687 CHENG 914
gfc 940 Tfc 368 a 913 a
IS 464 WH
9J4
fit 567 - / 12 775 HU
J& 801 & 277 ^ 1166 a CH’IANG
wo 914
1 55 a 743
(131 «S: 380 ft 232
CHA » 789
55 CHE 315 CHIA ft 232
^ 123 m 455
fig 245 & 10 If 753
uu 900 111 ft 454
W 874 •arte 609
¥
ft 454
943 Hf 855 900 229
94 666
CH’A
87 If270 171 m
229
924 m 879 [318 at 94i
M 352 & 546
CH’ENG to \(494
£ 40 if 617 CHIAO
CH’ANG CH’E tit 193 318
fj-
Ail' 661 &
ft 397 |3 193 594 613
298 ft
J» 15 ft 615
298 M 202 969 § 400
CHAI "1 161 407 ft
T 321 gf « 400
CM CO

1— o
CM tjC

ft 978 ft
868
(

^ 145 $ 136 It ft j
w 410 # 250
CHI II 307
645 m 135
# 978 ft
CH’AI CH^N 775 606 322
618 Jl ft
ft CHI
756 f 55 » 305 A 18 ft 883 P4 117
» 386 ]131 m 305 7 18 L: 32 ft 262 ft 435
 348 ALPHABETICAL LIST.

CH’IAO 1168 910 >0% 71 #1

Sc j/66
&
177
7
& 1170
389 m 987
(258 79*
765 71 Ha.
946
5 (950
\853 tfc 825
£ M 750
S m 42 * {rao m 948
iM 988 1815 ^ / 412
*5 853 m 750
135 ft 815 CHIU \684 CH’U AN
&
CHIEN [484 oq
627 CH’IN JhoO * /4°5 «< 598
%
H 85 lb [ 128 9 \847
813 /716 4 366 J321
/ i3 10 ft \588
322 m
(425 it 349 \ 83 / 291
\1000 CH’OU 57
458 679 309 $
m
m [349 m
a- 438 ffl
it | 99 / 76 353
Bt 120 £3 \479
CHIEF! 100 CHING fb 732 97
ft 294 £n
* 395 /204
436 619 m 8 $$ 782
M 82 (477 m
\414
G 42 ft 919 « 154 601
m
(623 ft 476
» m 414
i 114 m 764 m 139 98 m 589
P 1 42 764 m
m
171 ja.
A\ 896 Wt 98 CHU CHUANG
is 114 183 t 39 537 & 150 £ 210 E 355
/432 905 m 39 frdk. ft 336 : 355
ft m
m 537
\898 450 7
m
812 m 315 CH’IU li¬ 605
# 432 S8
&
970
# 50 m 823 & 150 ft 930
ft 615 295
w 652 875 ffc 169
615 CH’IH
$ 934 n \
l907 401 CH’U AEG
615 78
ft m 948 m 875 CHIUNG ft!; 677 ft 84
747 375
« Ig 136 [1 468 M 749
CH’IEN
747 /R 288 m 84
a? ft 362 K 412
866 288 m 230
« =f 59 362 CH’IUNG
866 /273 74 m
CH’U r&i 1287
ft 159
'K \571 # m M 251 0 \584
« 248 542 *jR 46
fw 916 ft 301 ft 584
161 235 3§ 988 115
« 407 37 OB 833
425 8fc
ft 667
ft
735 CHO 409
CHIN ft
M ft
690 13 409 CHUI
ftl 143 910 A / 56
tt
707 108 (631 & 603
ft 18 f 21
536 137 * & 56 $g 876 m (154
ft ^ 419 CH’ING
3$
868 693 L 10 759
m
SJr 358 63
133 « { 159 E 10 CHUA 745
& 13
CH’JEII 889 ^ 333 281 940
ft 120 Tn 642
1R 83
CHIH m 402' 420 CHOU
B (20° m
CH’Ul
\690 648 ■» 63 CHUAN
2. {27 / 387
jfl 557 ^ (614 -ftv /238
648 ft 136 ^ \108 $ 414 (352
 ALPHABETICAL LIST. 349

CHUN 578
$N ft 496 ft 647 HAO m 201
ft 516 ft 578 ss (612 /JL J 388 £? 90 # 785
7I<S (286 It ] 672
826 M
884- ft 942 ft 762
1
*
CH’UN f /
ft 867 » 388 ft 258 M 724
% 167 CHU AN ER d& 790
ft 508
563 * • [609 f 20 FEN ft 672 h£ ft 988
992 181 [729
% 563 l 91 KH-
m jJ 556
992 fa 790
m 864 # * 4
3 m-
71
C71
267 ^0 330
HSIA
CH’UAN * 525 H
& 103 T 92
76 M 267
CHUNG 500 525 gij 236 5W 262
170 r. 3 ft 313 ft
* /500 M ft 335 H 106
57 X (424 ffi 635 FENG m 378
* M 316 X 168
22 & 552 FA ^ 312 [848
a § 271 IS 591
215
m 604 £ 835
774
312
416 KB 271
m 686 ft 428 m 312 it j 151 HSIANG
260
m r 42
-(177 til 726 £
ft

260
s 164
m 416 HEI fa 189
/QC c
loo5
ft 214 m. 1 I us R.
1734 768 H 178 ft 379
CHUEH
734 JR
768 [465
CH’UNG
/109
626
657
% m 847 HEN 4a j [106
£ 232 ^ (923 « JH 48
(704 923 FAN a 194 % 522 m 223 106

(232 m 522 465

ft 435 R 75 ** 164
dft HOU[496 ft 334
CHU CHUEH m 990
FO ft 554
413 * 334

'Pj ( 80 iP 135 ft 75
fS* 554 ft / Jft
713
413 ft 76
(861 f509 500
HAI
717 B 587
861 « ' t135
•At#.
ft w 837 FOU ft 126 & 466
ffi 377 ft 594
£ 180
§ 837 ft 264 % 237 ft 126 ft 922
625 ft 186 ft 909
E 773
FANG g 767 flm 269 a M 945
625 0 374 »
ft 742 c 925 ft
436
HSI x 839
(503 FU
754 CHUN
ft [104 [443 HAN f 14
754 830 15 [572 HSIAO
It 147 [493 r841
II 826 OH’UN
n 341 ft 493 r 1 42 © 26 * 627
til 826 fg
"i
830 w 712 (613 a 500 ft
222 435
996
X
[317 ft 343 ft 520 [400
ft
E FEI 234 ft 957 » 156 ♦ i[406
CH’U M 538 ft
276 #c 740 602 m 390 a 417
ft 67 ft
776 & 708 647 ft 398 ft 307 nr 027
 350 ALPHABETICAL LIST.

m 77 139 258 HUI & 121 f 126 KAN

1- 390 644 258 525 P
m
A 288 ;l 27
=? 110
422 134
m '62 css 439 p 122
-a* 23
HSIEH m 422£ 669
M 674 450 jj 37
r 137
& 20 m 656* 590 699 m 439 m. 37
n 137
% 650 m 894$8 590 385 &m 51 37
# 927
£0 963 849 51 995
M: 206 8 * 230 * n 343
m 163 m
933 il 11 (981 m 502
163 HUA fife 311 (995
HS1U m 869 A
139
« 545
M 41 m 415
f> j 20
u
It 54 ¥
m 342 (158 HUN 44 K’AN
ffi 662 HSIUNG ft 488 31 447 404 JIH
72 488 510
u 46
ft >1 0 12 102
HSIEN
m 73 HUNG 8 471
& 571
27 HSU it 678 & 89 B 471 JOU
* 1502 jEK [305 fill 483 3j 597
[730 133 KANG
* 1305 & 851 K’ANG
527 HUAI
g 770 afr HUO 5t 863
904 396 JU H 763
*g 124 Iff $ 953
[169 8
396 >K 953 A 35
* pi 482 8 KAO
** (792 HSU AH m 933 [325
i'K 646 5n (521
M 792 MO '424
iS 530 JAN & 203
M 599 428 M•j* 758 284
HUAN 70 1* 506
Si 390 & 758 1142
8 303
HSUEH $1 251
659 506
ImT
m . 98
423
97 251 IS JUNG
519 JANG K’AO
HSIN S 438 204 579
616 <1 839 &
m 462 ft 511 8 * 276
f 18 949
462 144 & HA
ifr 18 m H 849 JAO
HAI KE
gj 45
HSUN m 919 514
274
ill 725
HUANG
A
271
* 28
ft 195 444 i JE efi: 700 2
8
ffi 394 HU
8 639 _ jPX
430 m 487 m 28
480 % 639 1 19 430 u 528 m 28
HSING * { 5 m 639 X 165 139 M 335 & 272
ff 1 30 ¥ 723
m 859 X 576 m 498
17 (161 723
Ms r207
] 696
& 137 JEN K’AI
m 163
£ 391 Ji 721 k j3 191 A 3 m 175 w 152
 ALPHABETICAL LIST. 351

$J 490 ft 871 K’UA KUEI 483 LIA

LE
F?J 536 tfj 871 903
ft 728 161 m
173 1002 ■jj® 895
Pi 536 ft 148 M> ' 297
ft 1002
ft 714 « 374 194 K’UNG
KUAI 456 LIANG
H 838 £ 302
ft 710 iff 196
K’E E’OTJ I 548 215 ft 779
a .
/a ffi 35
f 54 548 447 wt
P 17 ft 518
«r 529 LEI ft 319
(152 843 ft 518
#n 944 S 601 & 445
364 ft 634
[205 KUO ft 710 ^ 559
HiJ 380 K’UAI
411
KU * ■ 863 & 939 /ft 817
m J* 530
374 -J: 17 tfe 109 ft 925 p 448 S 373
ri 522
(a 28 ft 215 ft 925 39C Eg,
n« 939
600 s 530
813 17 LIAO
K’UEI ft 119 LENG
ft 611 & 564 KUAN m 411 7 68
411
649 (579 [205 ft 138
» & (622 Hf 310 51 ft- 568
* ' 693 ft
481
KEI # 292 ft
■U, % 778 ■ 70 LI
yo LIEH
K 262 W m 929 (179
ft 110 P 95 LA * (212
361 $1 711
421 739 216
KEN M 361 KUN ft SSI 718
421 fit 172 ft 814 ft 711
ft 921 57
« (168 * 1 630 1 360
684 ft £ 172
a (223 ft 630
w LAI m 82
® 223 ft 684 [428 K’UN 64 a 339
3ft 314 ft 813 » • 726 & LIEN
n 704 82
£g 4S4 'W. 902 X
796 LAN ft 588
19 f6 936
K’UAN 796 tnTL 928 ft 917
m ft 936
K’EN K’U ft 499
% 144 ft 643 ft 974
fr 228 51 424 WW §1 828
KUNG ft 433 799
469
KUANG ft 799 B 333
KENG 777 55
U O m 668
LANG 351
153 ft
[226 280 * 1
* 1 [492
965
KUA
%

m 696
fig 301 ft
f175 IIS
821
766
ft
Ml
761
351
ft 668

m
m 982 # ■ LIN
297 247 ft 445 0 886
#
KOU # 297 X 89 ft 164 ft 765
J 670 ft 119 K’UAN G 354 LAO m 164 ft 981
296 A 119 a 794 ft 682 ft 209 m 709 £$ 588
m
871 ft 365 w 696 & 569 ft 683 % 608 ft 746
 ALPHABETICAL LIST.

St 931 MAN MI MO
NENG
474 rn 706 306 f 3 & 79 16
rs * ffi 357
(138 1213 665
m 306
I 61 LUN \ 47
rrti*
m 810 ft 665 NI
472 [658
# 359 ji 130 m 991 968
61 658 278
Mr
iaf 370 130 Sfc 24

1
u 278
446 705 m
Sit 359 fg 285 m 752
446 802 (ft 3
$$ 752 569
LUNG 802 [593
m 3
MANG 382 [437
W, 286 m 705 32
31 H 286 tt 676 MU 53
NIANG
629 © 592 MIAO / 22 53
732 * \58J 565 53
MAO 798
732 iii 464 269 887
% 254 B NIAO
g 301 (i AO
J lAjZ (459
n 130 M
ll: 989 [547 f 41 {328
897 M1EH H ■ [628
710 m 320 & 79 (626
m 244 $ 730 1955
701 # 786 147
244 730 NIEH 955
632 M 829 * 485
m 244 139
632 523
$B 244 MIEN
LUEH 1 523
4^ 1
m 53i NIEN 372
MEI 575 NA
[198 110
392 LUN i 122
M 11 18
269 1*5 575
392 t 359 & 103 (208
793
79 a
345
575 8: 840
840
\ 6
MA 543 m 58
NAI
ft 691 a j 107 188
m 261 75 581 NIN
m 979 is? J 486 620
485 261 El 575 892
953 A NAN 328
953 MEN 856
MIN 212 NIU
844 Jg 24 FH 5
nn J 233 347 50
294 6 JllL 1 648 m 398 * i 118
279 MAI 24
793 m sis MENG
MING NAO so 991
320 575 451 (fl 688 » 960 854
£
life 991 460
m 127
r M 38 460 551 NEI NUNG
931 M 220 572 j 61 468 0 467
& ft 118
 ALPHABETICAL LIST. 353

ft 744 ft 38 IB 804 ft 985 X 17 SHANG & 23

tt 239 ft 332 ft 804 ft 513 to 888 i-
—CL 91 it 751
ft 238 457
to 888 (410 ** 344
274 ,ft 526 FI PING 151 (Si kos & 837
m
$ 937 m 526 G5 23 y (138 m 416 ( 52
i
e 540 224 (516 52 SHENG
& ft
FAN fit 695 life 966 X 560 SA 596
» 15
* 24 m 967 (235
638 Irj {262 £
ft (461 it (475 ft 607
B9* 901 PEI ft 856
238 m 235 189 ft 391
ft S5 708 SAI ft
ft 947 PIAO 226
n 692 ft
541m 202
PANG
PS 767 ft 182 m
t .■
437
692 ft
541m 71

^5 675 as 977 K
{626 727 m
ft 541m 610
(131 ft 609
675 SAN
PING — P, xi SHAO
m 675 PEN
PIAO 268 At Dn SHIH
* 36 (638
255 ft 558 ft 176
PANG ft (962 fp.xi
A 503 P’EN ft 878 685 ft 720 + 1 59
PO A V
ft
503 233 is 899 ( 69
ft 214 ± (134
P’lEH SAO 482
*
176 W 58
PAO P’ENG if 405 P 449
675
J 80 it 884 ft SHE ffi 8
J99 48 ft 820 164
(495 SE © 73
© 1327 181 48 PIEN (227
* 454 ft 40 4
461
681 IB
P'0 (164
ft 801 ft- 550
ft 376
PI 1! 492
ft 832
SHA m 855
m 256
938 633 © 42
« 891 £ 165 m 542
[491 m
% 264 fc :348 M 513 ft 165 M 342
X 100
m 416
'323 m 737
PU
to 454
X 566
819 ft • .966 m h 14 426
m 513 •r* 1iyQ SHAI (221
P’AO
& 504 m Jr274 -A-.
1 .512 340
8® 799 SHEN m (460
se¬ 802 ft 799 (227 &
(197 576
327 tt 211 512 ft 1369
ft (998 997
5] 211 ft 104 SHAN 784.
ft ft IS 252 ft 125
ft 495 ft 976 415 ft 227
ft 346
489 P IEN 857 ft 140
PEI
«
856 iB
P’U
973 Jfc
01 m 96
{ 17 * 537 ft 140 f 96
ft 348 m 7 (B 737 (620 583 ft 291 & (231
 354 ALPHABETICAL LIST*

ft 231 Hfc 563 6UAN p3 r 45 'ft 797 M 99 ft 266

ALi (989
ft 75 ft 412 % 247 m 824 ( 99 631
ft 952 ft 412 664 (442
m \

453 9 TA TAN T’lAO

ftp m A

# 453 m 198 SUI X 54 M 574 TE ft 160

& 12 a 485 ft 993 ft 156 140 ft 994 m 112
7i 141 m 549 * 771 637 ft 517
■226
SfU 39 & 170 s? 959 TENG TIEH
ft 367 SHUA 771 m 959 TANG 8* 805
m •ft 199
dfch
a 141 986 m 493 478 ft ft 308
m 1£ 240
ft 421 493 TA
881 ft
ft ft 240
m 698 SHUANG m 493 4 ft 893 ft 240
T’lEH
ft 855 505 787 a 308
m 162 m ft s 243
rjrQL 918 a 869 TAX & 381
SHOU
(197 T’ANG T’ENG
a y 711
53 SHUI (869 TIEN
m 396 ft 408 ft 593
366 79 ft 132
* 655 *I"5 738
463 SUN 178
11 21
ifcay
Jpjgj 403 TI »
956 ft 769
* 862 760 $ 257 ft 386
n fts 769 ft 965 £
# 101 m 434 769 ft 965 ft 257 M 885
W 101 SUNG a 369
893 ft 187 ft
938 ft
flt 716 SHUN ft 42 *
711 ft 893 f 86
ii& 563 & 94 ft ft (153 T’lEN
jig 363 ft 544
SI 452 TAO ft 86 5$ 113
ft 516 SZU m 311
143 37 ft 6 ffl
( 82
SHU f 89 m If [201
SHUO i* [569 217
71 37 663
« 34 M 972
ft 72 % 806 T’AI m 88
£
r 71
29 501 ft 972
TING
(165 K 174 a
SO
/E 876 JE [304 AAA * 580 m 101 T’l T 155
[299
581 m 480 m 174 a 452 2lS
[125 ft 371
* 165 ft 680 ir 289
^ 1 346 TAN T’AO ft
f 53
259
& 547 m 680 ia 338 [951
889
3£ 619 717 * 63 ft ft 641
& 521 su 0. Hr 8S9 ft 259
f^i 717 241 it 292
a 762 622
* 8 fa 241 TE' T’ING
749 288 O'O- ) 956 937 • 78 TIAO
m ft 22
a 749 m 556 1$ | 141| ft 937 ft 78 1 266 ft 99
 ALPHABETICAL LIST. 355
& 661 TSAI m 203 Tson TS’UNG T'UI m 983
& 651 & 81 69 [ 42 A 128 a 741 m 597

Tin
s 196 a 470 * .146 ft 128 m
aB
(595
[741 WA
/ 598 [287
& [586 595
999 TS’AO Tsn m
% 558
T’SAI a 586 ft 561
-H* 22 H l[279
TO * 562 .484 WAI
m 22 TU
£ 184 562 677 T’UN
399 M. ft 14
% 581 ft 573 920 a 818 975
# 470 m &
n 845 281 993 a 818 885 WAN
* m
1908 ;jt 870
TSE % 139
T’O ft {281 873
TS’U p TUNG 60
731 ft!
624 & 880 K a 270 r±‘

u 200 170 70 93
281 547 £
624 £ ft
(22 U 984
311 T’SE 800 a
15 911
277 TSUI
(25 42
*& 702 TSEN a 179 w 42
IK 702 293 ft 331 T’U 22 m 107
£ 534 TSAN ft 326 dh 13 if 22 M 60
ft 185 m 326 et 570 w 706
TSENG
Ton
ft 185 & 290 T’UNG
185 [449 ft 277 WAN G
4*
/117 ft # 1 [230 TS’UI 177
\568 w 344 (629 98
J105 IS 344
715 lit 1549 a 497 ±
S[794
715 m 249 m
U4
s [240 954 TS’ENG
1 ft 290 1
[350
ft a 741 m 249
ft 270 ft 865
m 449 1UAN
n 688 TSANG ft 350
ft 449 TSUN tzu
§ 946 HE 444
f! 299 1
T’OU % 477 0. 393 3s a
660
ft 299 TSO 104
£ 664 ft 946 3 & 123
613 941
ft 66 M
mx 946 a 585 e
123
767
767 TS’ANG
a 192 TSTJN a 157
332 ft 149 TUAN TZU a
660
ft 69
834 ft 666 re 123 831 983 w 719
17 M 473 in 719
105 ft 941 a 983
£ ft j 149 m 473 TUI 38
872 20 w
if 310 Jfb ; 491 pq 38
TSAO
TSUNG
TSA iqqq T’SO ft 72 « 731 ra 38
¥ (ill ft 222 m 287 ft 69 a 585 pq 38
HI 689
 alphabetical list.

877 * 283 YEN YING JR 788 42

ft 877 ft 283 827 m 788 932
r f24 ft
ft 964 ft 440 ; (132 683 ft 788 (636
ft
964 577 ■& 353 1356
ft ft ft 441
524 193 Eg 577 353 553 YU 356
Jfr
216 M 337 ft 755 35r* 698 553 479 636
m h
83 ft 640 ft] 827 4% 178 783 479 653
m m
83 £ 538 w io 3£ 124 836
510 4nc 431 YAO 158 YU 653
4t 40
848 ff 728 & 808 603 418
£ 24 X 43 &
971 728 ft 808 7 418
456 £ 49 m
772 ft 728 UK 841 443
& 456 34 WL 70
781
(417 JR
ft 897 841 61 831
ft 43 m
772 f* 897 ft [822 # 104
* 98 a 284
L001 ( 77 M 748
jge * 732 * 694 H
YA (514 » 748 694
$1 846 m
(670 ft 77 H 294 728 9
y (422
427 (163 ft 16 (589 728 43
¥
65 97 ft 703 YIN 623 860 329
» »
533 £ 858 160 860 329
% 822 tt ft
4RI 721 ft 858 485 968 ( 72
ft ft
2 ft 736 ft 958 31 57
IS 387
(534
fij 673 * 807
811 ft 958 535
757 ft 0 384 ft 850 ft 807
35 538 456
ft 850 795
906 YEH # 39 ft
*Sx @ 809 ft 912 ft 795
ft 890 4 882
77 •tfL ft 809 it
[527 ft 173 HI 809 YUNG SI 583
[190 YANG 664
¥ 555 i 57 (553
507 * 441 M 105 * {8?6 JB (225 YUAN 1447
30 ft 253 if 697 5 816 497
446 nr J 93
ft 253 ■» 41 6 265 * 283 ^ (263
 357

INDEX BY NUMBER OF STROKES.

/, /

A letter 0 indicates that the character is colloquial.

1 Stroke Ac 3 Ic 89 500 7 995
4. / 17
— c rP x 92 161 «< ^ 1620
l 19 A® fl 323 To Jr c •( 50
Ac 54 415 Jtc f 10 1118
57 73 0 37 7fc« 1484
1 368 A 18 4 Strokes S 22
/ 176 Jl 775 0 i& c 18
± 98 28 £j c 871
137 Ac 33 X #c 82 0 c 12
77 Ac 139 & 768
7 18 (179 /J?c 176 a c 9
477 Aj 0 6 47
1212 7® 3c c 234 &c 569 c
Jtc 91 291 254
2 Strokes X 27 A®{ 1000 Ac 113 Be '244
/J> c
627 (322
A (Pxi fa 80
f c 18 f 18 A 507 Sc 444 A (417
. G
l 20 X° 43 130
&® 1324 f 93 rf* c 57
£ 17
(Pxi ( 42 PI (168 X (263 fa c 964 774
+ 0 1 59 a 1500 p 28 s®
A (170 953 ft® 468
17 281
< 42 ( 42 n c 122 P3 38
r (841 v U14 rtjc 143 A 170 10 c 3. 435
7c 1 M 426 A 38 128
7 43 7c 68 A; 0 r 14
1572 P 11 ^ 827 7]CC 79
(317
-Ec 32 t 20 694 X®
Pxi 3- 438 7 1613
(348 u 46 H c (503
fc ^ 0 1350 :/£ 98
1491 89 (132 (449 A® (104
258 ^ 11569 r [ 24 P ® (337 *o 36 ft® 488
5 31
155 Th* 581 c« 123 122 % 24 /> c (358
T r
427
152 1 r 191 950 X C Jf ® 11419
7" Bc 822
108 (129 ^o 19 Jfc IR0 83
435 i}>c 117
3 Strokes 75
h c 14 (670 ( 55 Sc
yc
C
(153 * 1424 # (312
n 468 ■tfo 69 1163 1436 c 18
•at c 4 Jo 711 #c 181
IJ c 37 tfj® 857 x_%
10 ik 0 (169
161 Tic 37 *o 98 ^ (482 (432
613 7 (614 'frC
624 z° ( 27 15 £c 49 * _ (227 (898
(516 t
r cl1138 =fc 110 =f 0 59 * 366 -350 2 Sc 1164 B-o 63
/f c 126 562 A® 16 Sc 30 B® 5 Jt 71
( 74
35 (134 l 47 576 g 357 43 s® 18
±cj l 69 123 Kc 23 £ 79 634
rl65 (i. r
X I175
: 30 S c 13 ^ (247 £ 24 rfjc 256 7c 53 A 109
 INDEX BY NUMBER OP STROKES.

340 7lce 283 ajc 46 #c 43 4?c 196 » 731

%o 558 «&e 504 269
Jit ft f 47 (213 747
329 273 A^ c 1658
« 500 % l 8 264
4b • 348 /n c 288 (593 #C 50 (158 698
Jto 323 722
r 1437 51
S 1223 862
r 52i
go <132 *LL 409 Ro /200
1A77 He 58 l^e 761 923
U9C 1178 ft 10 1 /
353 mo 62 A c 23%. 601
(272 Ifcc 20 -4 C R\o 557
15 %c 71 >A <235 999
157] ifcc 426 E 625 (461
100 S' c 73 (981
13$ c 723
Rc 241 & c 566 P£ C 74 ft 235 (995
664 S° 721
&0 732 ^ c 123 & 45 no 246 94
84 f 102 5R C 556 # c 450
0 o 76 p 258 (215
12J 1547 tjjo 682
A 193 #e 81 Ro 266 (848
111 <626 &0
£ 1955 Mc 88 272 230
c f 6
rokes ^ „ (227 1208 #c 90 fto 280 288
^ (369 no 226
flfc« 4 ft* c 103 it 290 473
567 & 165
fflo ( 82 ^2 c 118 ge 104 310 503
188 (201 JEo 876 i
(138 (299 530
/164 * 421 /^c l 61 702 #e (108 Mo (304
1238 944
1227 386 ft! 60
m ( 57 ^ c 110 311 934
124 Bfr 386 fflo 1225 338 '
fill 615
665 fee 441 6 Strokes j|i c (399 Ko 354
< 80 613
524 ( 96 1861
67
fee
(231 fl-e &c 1 &<> 112 2^ c 360 389
14
155 7 ft 119 Ifco 366 42
72 271
jfe 7 C 125 209 (609
853 B 121 170
12 gc 474 & 8 &c 133 %o 451 (992
<327
£2 c [495
\ TI xJ U
515c 11 A o 150 &o 483 / 552
97 (233
Ec 1648 ©c 26 (161 %o 180 ] 635
485 £ 257 ft c ( 30
zxt 0 27 91 518 > 647
17 38 £B 42
34 [161 ft 525 ) 656
23 go 28 J3 c 278 [297 -%o 532
fee 34 (424
484 210 [496 ;i94
& 1 L554 * 1L305 * 547 ( • 428
36 fc o 216 ^c 253
JU Wi 38 ia® 708 ; 674
f 54 =1 &e
142 224 165
Re 38 mo 711 i 646
(152 15° 256 214 ^,c 184
40 fS o 717 £ 700
262 97 897 i&e 187 ©c 728
m 22 676
268 £ 139 flDC 494 iRjo 189
'325 728 j 675
42 fc C 51 548 anc | 521
193 728 991
 INDEX BY NUMBER OP STROKES. 359
997 JL 0 82 J^c 291 873 ^e 930 846
f579
34 c 84 M® 85 894 & c \622 3* 941 857
624 86 S® 301 ®c 917 298
796 I®
581 %c 93 M® 202 fjc 709 8 Strokes
955 302
i£c
570 M 101 W 321 260 % c 964 310
&c 445 £
741 <105 fee 336 316
Sc (240 244 lose 555 c 971
827 343 I^e 719 315
-jje c 560 fifU® 974
634 <107 fee 794 $c 547 5£e 984 327
(543 801 pm
983 Jfte 355 799 330
109 c 619 <197
249 ?£ 0 358 765 # c
(998 f 332
filJC 114 £c 938 **®
384 ^e 374 gs 953 1767
i 114 c 562 889
G73 377 359 341
115 # ^ c 526
34 j&c 598
<400 ft e 691 n?e 345
c 117 #e 767 533
583 (406 sfe 705 f 99
35c 538
ge <120 * 413 „ (279
730 1349
(294 ^ o (484 545
E« 419 ft;® 665 350
kes 0.0 122 g 664 548
<416 ^c 139 353
135 Si c ^ c 877 $H® 713
963 (151 & 0 675 359
in c 135 3£c 446 ]>£ c 723
966 467 J&c 386 372
M 136 I? c *8® 722
975 #c 473 l422 £ac 100 <476
C 136 ® (589 tfte 732
980 i£ 497 585 1780
ft c 138 £ tie 739
2 510 ^ 603
<563 <379
< 42 JJfc 855 ^ c 1ft ® 578 (522
518 (522
3 (146 IX #e
733 /fre 388 756 380
5 530
f^C 149 ff®
10 &C 157 & <549 #c '400 l$c 644 ^e <763 411
1965
10 fit (629 $ 621 206 414
160 as® 768
712 (S e 866 &• 669 439
11 274 #>® 769
717 $?c 677 258 450
20 221 fsj®
597 S 770 463
37 212 fe 728 ~ f405 lo e
W \847 &e 564 808 <486
608 &0 216 »• 729
811 (575
736 #o 542 §|E 0 582
66 <226 & 820
go 830 690 488
53 I® (492 #cc 740
815 489
57 fB. c 241 744 l^e 671 652 &®
861 822 493
: 72 ft® 250 #c 784 ffic 554 ft>®
534 # c 269 785 3gc 390 fee 865 fee 825 281
71 fZ® 806 650 ^e 897 iQje 827 296
£e 203
75 834 a 720 as® 902 *&® 832 297
<287
79 & (584 Jlic 870 510 547 $® 843 178
360 INDEX BY NUMBER OP STROKES.

* f!35
1509
 INDEX BY NUMBER OP STROKES. 861
189 516 ia® 920 R® 688 SB® 175 <L® 414 854
192 S® 518 &® 942 573 S&® 179 864
It® m® 418
218 519 »• 945 666
Ik ® n® 178 te® 420 872
219 521 &® 959
&® & 858 RB ® 183 &® 425 892
238 972 623
Mc 529 M »• te® 185 s® 438 899
248 536 s£® 982 &® 807 ffi® 200 907
ff w 470
/215 g® 544 SR® 990 JSC® 653 a® 201 909
#c 496
1447 991 639
SS® 708 18 *• ® 229 506
918
269 994 & ® 236 926
718 4#® 520
270 te ®
mi® 725 J5£ 609 Hi® 244 936
275 11 Strokes g® 523
731 * 813 1« 255 933
282 tfr® 527
948 r262 939
«® 733 fl&® \m ® 1475 531
284 648 B&® 968
n® 758
289 He
601 Pen** 24 SO® 267 Bft® 534 973
/ftc 762
290 589 ( 30 f281 M 541 988
tft® 764 fi® E£® (816 $$® 1908 $c®
292 625 542 398
ffcc 767 *g®
305 38 1 283 ^0 546 924
& 772 Be 384 K®
807 312 5g® 55 &® 284 549 654
c 773 ^®
314 •y' 70 /287 ^® 550 645
775 &e 724 63®
321 HI® A (586
** 71 710 594
788 fi ® 699
332 78 S 294 627
e 790 ^ c 579 #® & 747
335 86 te® 295 667
#® 895 H® 762
352 tffl® 796 87 »® 297
A®
642
568 ^® m° 763
356 HB c 799 95 298 605
629 # 769
357 te« 802 Sfc® 107 306
&®
992
953 life® R
770
399 SR® 802 te® 122 311 s§® 647
813 m® 991 Ji ® &® 779
404 9 126 315 659
416 is.® 821 ifc® 620 te® Hr® 803
^® 128 s® 339 953
417 m 826 *n® 565 804
130 ft&® 353 IB 844
436 ■m- r 198 $® 633 363 te® 805 575
19® 135 Id®
437
Sr (392 692
tt® 137 te ® 371 IS® 808 244
445 m 831 tec 583 400 558
te® 139 &« It® 814
457 &® 835 m® 342 402 653
8i® 140 SHe ift® 817
497 t§ c 877 w® 453 140 *§® 405 847 574
&® 0®
499 ^® 880 M 680 409 631
MA /141 ^® 01® 850
501 g® 887 BP 396 (956 g® 408 851 651
^®
515 &® 897 &® 593 150 ^® 410 (205 715
516 E® 911 Stt® 663 BRe 158 If 412 H® (863 561
 INDEX BY NUMBER OP STBOKES.

660 $0 251 545 && wc r956 ft®

TO
693 0o 331 781
697 ?ic 252 711 (141 686 343 782
m« IS®
c 271 ffi® 720 464
ft® \ 662 316 801
#®
j&C 279 *&® 407 ft® 615 Rc 678 816
rokes 355
31® 281 ft® 736 619 ®r« 394 fc 369 823
7 Ei o 286 743 Mc 333 «® 684
ff. 374 829
/ 30 584 ft 588 ®0 578 ft « 262 a c 407 830
1577 |lf;c 288 M 750 5&® 374 634 885
1# c 414
33 Re 313
ft® 755 !$® 602 ft® 668
5® c 416 836
39 322 760 11® 599 172 838
ffigi c 423
41 * 326 *jg® 783 :M® 590 IK® 884 842
^c 430
48 144 l£® 454
329 795 M 856
385 ^® Ml r*ioD
53 c 333 iic 804 Mo 202 860
(462
f 53 334 411 flic 595 876
818 R° 448
1951 649 JM® 703 878
344 837 ft® $jff C 453
54 361 JR <421 jjs 553 906
m 841 Rc (630 471
56 788 H®
«s® 362 845 m 915
75 ft® ft® 472
ft 704 SI® 636 931
Mc 373 &® 858 478
77 683 &c
376 It 22 937
872 s® 487
83 ft 931 42 940
IS® 378 ^ c 874 498
98 lie 695 I® 44 BBC
401 ft 0 952
ftc 883
99 M® 737 Iff
PH c 73 ft0 502
958
99 ft® 431 IJj c 889
513 i$c 516
M« nC 60 965
101 Ik c
460 0 888 522
■IS® 252 ^0 61 It® 972
116 465 f875 526
^ C 685 I® 82 We 988
477 ft® (896
119 ft® 610 t 83 IIEC 528 993
134 ggc 484 i° 900 ft® 893 &® (716
ft® 536 997
161 490 m? 914 541
Jtt® 381 ft® 114 Ift® .001
199 M 493 Sc 466 547
t» 449 ft 133 ft® .002
/207 n 493 ^ C 924
ft c 177 ft® 159 ft® 707 308
1696 S&® 495 #C 927 use 387 ft® 164 11® 715
211 Ic 508 i$® 935 ^c 912 me 171 721
SI®
214 okes
(513 *g® 961 ife® 215 i$® 730
>1° 4973
230
Sj( c (638 13 Strokes mc 242 ft 749 616
r230 M 525 (962
$® 258 «® 751 664
1449 537 W® 967 383
H® Sgo 273 $ 754 580
232 538 ft c 968 797 ffff® 279 &® 765 702
240 ft® 540 ft® 981 978 ft ® 306
ft M® 956 249
 INDEX BY NUMBER OF STROKES, 363
983 247 Mo 863 mo 597
I 716 Mill0 178 141
585 ft 251 *go 855
?SS n <485 mo 738 a® 222 148
809 m c 261 V&O 859 M o 1220 J& 0 752 243 164
683 262 Mo 866 m o 917 ^0 758
is® IS o 259 174
452 265 mo 875 m 941 mo 776 mo 274 232
606
303 mo 879 it® 21 mo 778 & 320 286
604
ffi c 319 mo 696 ^0 41 fflo 789 412 287
657
i$c 334 c 904 i® 63 mo 803 n® 422 300
684 916
335 ffa c < 99 mo 807 a® 458 416
392 933 (442 mo 867
it0 359 m° ® 462 505
572 933 % 104
361 m° 939 482 771
705 943 ggo 105
!$}■ C 370 SB c mo 946 a° 714 824
<274 Mo 969 IS® 106 m o 957 a° 752 839
1512 w c 421 $lf? C
976 mo 120 Mo 985 at® 754 856
681 429
no 596 mo 139 m o 989 ^® 772 890
675 M° 434
144 mo 447 n 868 si ° 151 W c 455
mo 163 fflo 638
W.0 788 903
797 905
3 461 238 mo 977
15 Strokes m o c 800 919
24 if 0 470
M 0 276 840 j$H ® 809 929
28 $)° 476 fc 618 m o 283 mo 688 lf$f ® 810 949
37 %c 479 ^ c 455 i£o 294
Wo 823 455
52 <£o 481 m 615 m o 301
16 Strokes £f£® 831 305
69 Mc 523 679 m o 309 833
a® 639
it
72 So 537 mo 988 W. o 311 Mc 454 mo 881 869
130 % 541 $o 648 mo 312 mo 958 mo 913 813
563 i$c 326 >l&0 594
136 &o 544 ®o 914 692
r 141 mo 719 m.o 759 TO n <328 mo 626 mo 937 609
1792 'Mc 734 591 IB c (459 390 a® 937 893
185 mo 742 a® 600 m o 342 % 396 |c 940 553
<197 mo 746 mo 630 M o 362 m o 556 mo 948
1869 mo 747 ttc 925 365 B° 586 i« 965
okes
198 m 748 We 588 c 403 Bo 538 n® 970
220 W\o 812 mo 732 mo 440 mo 694 «® 978 39
882 H® 819 701 mo 449 141 48
232 m o 837 0° 464 mo 456 mo 13 95
17 Strokes
235 M® 841 m o 575 St® 493 Ifc 22 104
240 mo 844 Mc 382 i&® 517 W c 71 71 162
245 Me 849 mo 660 525 ^® 77 mo 133 J63
364 INDEX BY NUMBER OF STROKES.

Me 936 lc 668 He 322 t$o 308 $c 922 24 Strokes

*'{?3 928 $}£ c 632 lie 433 ill e 428
m°320
fic 240 987 m 706 ® c 435 471 22 Strokes Hf C 446
He 328 575 4&9 Pg c 485
m c 996
lie S|c 592 ©o 479
£ 344 395 lie 398 456 ifc 512
ffl c 99
H c 452
696 mc 653 514 B'c 537
$c 277 25 Strokes
454
<428 m 889 i^e 716 748
*c 511 ©c 294
M,« 799 u 4726 i^c 903 He 750 fto 787
II 826 He 735 »c 344
643 Me 921 ft e 753
|fc 726 He 886
c 828 Mc 941 i« 775 21 Strokes
m* 680 SB c 792
3fc 837 Sc 953 «c 351 615
He 689
flje 840 954 27 Strokes
Sc 793
He 868 lie 39 20 Strokes #c 706 23 Strokes
He 632
19 Strokes
ISc 891 Mc 172 Me 177 Me 749 ©c 292
914 c 396 264 *ic 286 826 lc 299
925 ngc 839 Ifc 285 He 307 He 849 lc 799
 /
/

RADICAL INDEX
10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 110,120,130,140,150,160,170, ISO, 190,200,210,

® ® $ n -h* © ©

t ft> @

2-1 Ati±'h&.%bajn^-tusut!
*" s.

ft * & s? ©

*# * ®

6> 1 Jl P # lU A :£ X A 3£ fi tin ffi ^ JP-. ® # J* If

©EL % “" ^ ©ffi © ®
*• ru r % «<;u ^ x iii ;r a & it© m ft % & ± & & & m
<9

»--L7l
rj JL # £ ©

Y
e^/f aat-tf m
9, 19, 29, 39, 49, 59, 69, 79, 89, 99. 109,119,129, 139,149,159,169,179 189, 199, 209,
• — ,
■*' ►
==^-

A CATALOG OF SELECTED
DOVER BOOKS
IN ALL FIELDS OF INTEREST

m
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 A CATALOG OF SELECTED DOVER
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CONCERNING THE SPIRITUAL IN ART, Wassily Kandinsky. Pioneering work
by father of abstract art. Thoughts on color theory, nature of art. Analysis of earlier
masters. 12 illustrations. 80pp. of text. 5% x 814. 23411-8

ANIMALS: 1,419 Copyright-Free Illustrations of Mammals, Birds, Fish, Insects, etc.,

Jim Harter (ed.). Clear wood engravings present, in extremely lifelike poses, over
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Captions. Index. 284pp. 9 x 12. 23766-4

CELTIC ART: The Methods of Construction, George Bain. Simple geometric tech¬
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Over 500 illustrations. 160pp. 9 x 12. (Available in U.S. only.) 22923-8

AN ATLAS OF ANATOMY FOR ARTISTS, Fritz Schider. Most thorough refer¬

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illustrations. 192pp. 714 x 1014. 20241-0

CELTIC HAND STROKE-BY-STROKE (Irish Half-Uncial from “The Book of

Kells j. An Arthur Baker Calligraphy Manual, Arthur Baker. Complete guide to cre-
ating each letter of the alphabet in distinctive Celtic manner. Covers hand position,
strokes, pens, inks, paper, more. Illustrated. 48pp. 8% x 11. 24336-2

EASY ORIGAMI, John Montroll. Charming collection of 32 projects (hat, cup, pel¬
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Clearly illustrated easy-to-follow instructions insure that even beginning paper-
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THE COMPLETE BOOK OF BIRDHOUSE CONSTRUCTION FOR WOOD¬

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BLOOMINGDALE’S ILLUSTRATED 1886 CATALOG: Fashions, Dry Goods

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HISTORIC COSTUME IN PICTURES, Braun & Schneider. Over 1,450 costumed

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 CATALOG OF DOVER BOOKS

THE STORY OF THE TITANIC AS TOLD BY ITS SURVIVORS Jack Winocour

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FAIRY AND FOLK TALES OF THE IRISH PEASANTRY, William Butler Yeats
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Soul Cages,” “The Kildare Pooka,” “King O’Toole and his Goose,” many more.
Introduction and Notes by W. B. Yeats. 352pp. 5% x 816. 26941-8

BUDDHIST MAHAYANA TEXTS, E. B. Cowell and others (eds.). Superb, accu¬

rate translations of basic documents in Mahayana Buddhism, highly important in his¬
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448pp. 5% x 816. 25552-2

ONE TWO THREE . . . INFINITY: Facts and Speculations of Science, George

Gamow. Great physicist’s fascinating, readable overview of contemporary science:
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EXPERIMENTATION AND MEASUREMENT, W. J. Youden. Introductory man¬

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imenting with machines. 1994 edition. Foreword. Preface. Introduction. Epilogue.
Selected Readings. Glossary. Index. Tables and figures. 128pp. 5% x 816. 40451-X

DAT! ON MODERN ART: The Cuckolds of Antiquated Modern Art, Salvador Dali.
Influential painter skewers modem art and its practitioners. Outrageous evaluations of
Picasso, Cezanne, Turner, more. 15 renderings of paintings discussed. 44 calligraphic
decorations by Dali. 96pp. 5% x 816. (Available in U.S. only.) 29220-7

ANTIQUE PLAYING CARDS: A Pictorial History, Henry Rene D’Allemagne.

Over 900 elaborate, decorative images from rare playing cards (14th-20th centuries):
Bacchus, death, dancing dogs, hunting scenes, royal coats of arms, players cheating,
much more. 96pp. 914 x 1214. 29265-7

MAKING FURNITURE MASTERPIECES: 30 Projects with Measured Drawings,

Franklin H. Gottshall. Step-by-step instructions, illustrations for constructing hand¬
some, useful pieces, among them a Sheraton desk, Chippendale chair, Spanish desk,
Queen Anne table and a William and Mary dressing mirror. 224pp. 8% x 1114.
29338-6

THE FOSSIL BOOK: A Record of Prehistoric Life, Patricia V. Rich et al. Profusely
illustrated definitive guide covers everything from single-celled organisms and
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1,500 illustrations. 760pp. 7'h x 1016. 29371-8

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Wilder, George Durand, 1869-
Analysis of Chinese
characters
(continued from front flap)

Eleven Short Stories/Undici Novelle: A Dual-Language Book, Luigi

Pirandello. (28091-8)
Introduction to Italian Poetry: A Dual-Language Book, Luciano Rebay (ed.).
(26715-6)
Nine Centuries of Spanish Literature/Nueve Siglos de Literatura Espanola,
Seymour Resnick and Jeanne Pasmantier. (28271-6)
Beginner’s Dictionary of Chinese-Japanese Characters and Compounds,
Arthur Rose-Innes. (23467-3)
German: How to Speak and Write It, Joseph Rosenberg. (20271-2)
Easy Ways to Enlarge Your German Vocabulary, Karl A. Schmidt. (23044-9)
Russian Stories: A Dual-Language Book, Gleb Struve (ed.). (26244-8)
Elementary Turkish, Lewis Thomas. (25064-4)
Dictionary of Spoken Russian, U.S. War Department. (20496-0)
Dictionary of Spoken Spanish, U.S. War Department. (20495-2)
Candide: A Dual-Language Book, Voltaire. (27625-2)
Egyptian Language: Easy Lessons in Egyptian Hieroglyphics, Sir E. A. Wallis
Budge. (21394-3)
An Etymological Dictionary of Modern English, Ernest Weekley. (21873-2,
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acters, G. D. Wilder and J. H. Ingram. (23045-7)
tjguese Grammar, Edwin B. Williams. (23278-6)

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 PHILLIPS ACADEMY

ANALySIS 3 1867 00508 5357

CHINBE
CHARACTERS
G.D. WILDER &I.H. INGRAM
Chinese characters were not formed arbitrarily, despite (to a Western eye)
their overall similarity yet bewildering multiplicity in detail. Over several
thousands of years, early religious writers, court officials, scholars, poets, and
eventually lexicographers created a body of material that shows a remark¬
able internal system. A few characters were originally pictographic; a few
were arbitrary; but more were the result of combining phonetic elements
with semantic features.

This situation is not simply a historical curiosity, however; it offers a poten¬

tially great help to the student who is studying Chinese or Japanese charac¬
ters, if he is aware of the patterns within the corpus of characters. In China
and Japan, for hundreds of years, these derivational principles have been
used as a teaching and mnemonic device; unfortunately, they have been
greatly neglected in Western teaching.

The present volume analyzes thoroughly, yet in simple language, some 1000
Sino-Japanese characters, beginning with simple words like “I,” “you,” "he,”
and the plural particle for pronouns, and works through a high-frequency
vocabulary of characters. For each character it offers a printed form, and,
where such exists, a seal form; a transcription of the pronunciation into
modern Mandarin, including tonal indications; and a full English translation.
A body of text then explains the historical origin of the character, its seman¬
tic content, its components, including its radical in the traditional system.
All this information is based on both the older compilations like the Shuo
Wen and such modern studies as Wieger’s monumental work.

This is far and away the most useful analysis of characters for the beginner
or intermediate student. There is nothing else quite like it on the market.
Full, clearly analyzed, faithful, it will make the learning of characters far
easier and far more pleasant than brute memory. It should be owned by
every student and teacher of Chinese or Japanese.

Unabridged republication of the second (1934) edition. Indexed by Roman

alphabet, number of strokes and radicals, xi -(- 365pp. 6i/g x 9(4.
Paperbound.

V
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