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1265<br />

L1<br />

携<br />

KEI, tazusawaru/eru<br />

carry, participate<br />

13 strokes<br />

KEITAI-portable<br />

RENKEIin concert with<br />

TEIKEI cooperation, link<br />

Seal ; late graph (Shuowen); traditional<br />

. Has 34 ‘hand’ and 雟 (type of bird;<br />

see Note below) as phonetic with associated<br />

sense ‘let hang down’ (Ogawa says ‘link,<br />

keep [on rope’ etc.]’), thus ‘hang down from/<br />

carry in the hands’. , a popular historical<br />

abbreviated form of 雟 , now has official<br />

status. Note: 雟 is treated by Katō as made<br />

by 324 ‘bird’, with top element taken not<br />

as 26 ‘mountain/hill’ but as similar-shaped<br />

, representing cranial feathers (not as<br />

‘sprouting plant’); the lower element represents<br />

a graphic merging of what in earlier<br />

stages of the script was written two different<br />

ways, one being a pictograph of a window,<br />

the other seen as buttocks and anus/vagina.<br />

In the graph 雟 under discussion here, Katō<br />

takes as representing, basically, buttocks<br />

and anus (see 333), and by extension – with<br />

regard to a bird – as ‘tail-end’, with tail feathers<br />

fanning out (noting the shape in ),<br />

thus ‘swallow’; Ogawa also takes as ‘swallow’.<br />

‘Participate’ derives from having one’s hands<br />

occupied, suggesting getting involved.<br />

MS1995:v1:254-5,234-5; KJ1970:349-50;<br />

TA1965:504-8; OT1968:425,1081. Take as<br />

plump buttocks.<br />

Mnemonic: CARRY PLUMP-BUTTOCKED BIRD<br />

IN HAND<br />

1266<br />

L1<br />

継<br />

13<br />

KEI, tsugu, mamainherit,<br />

follow,<br />

join, step-, patch<br />

strokes<br />

KEIZOKU continuation<br />

mamakostepchild<br />

tsugitashi extension<br />

Bronze ; seal ; traditional . Originally<br />

written . Bronze form shows several short<br />

lengths of thread (or skeins), with other<br />

components, which some scholars make no<br />

comment on. These other components are<br />

as follows: i] a horizontal line midway, and<br />

ii] two short lines bottom right. Katō takes i]<br />

to signify joined threads, and seems to take<br />

ii] to show repetition. Shirakawa, however,<br />

takes (facing right, as here) as ‘cut threads’,<br />

as does Gu. Seal form likewise has 29<br />

‘thread’ added as determinative, giving ‘join<br />

threads’. By extension ‘follow, patch, inherit’.<br />

MS1995:v2:1026-7; KJ1970:346; OT1968:779;<br />

SS1984:236; GY2008:1173,1311. Take as <br />

220 ‘rice’ in corner.<br />

Mnemonic: FOLLOW JOINED THREADS TO<br />

INHERIT RICE IN CORNER<br />

1267<br />

L1<br />

詣<br />

KEI, mōde, mairi<br />

visit to temple/shrine<br />

13 strokes<br />

SANKEIshrine/temple visit<br />

hatsumōdeNew Year shrine visit<br />

ZŌKEI learning, attainments<br />

Seal ; late graph (Shuowen). Has 118<br />

‘words/speak’, and 1401 (‘gist’) as phonetic<br />

with associated sense ‘go to, arrive’ at important<br />

place such as Court, thus ‘visit respectfully’;<br />

Shirakawa takes as ‘worship deities’. In Japanese,<br />

more used in sense ‘visit a shrine/temple’.<br />

GY2008:737-8,303,11; SS1984:236; KJ1970:796.<br />

Take as sitting person, as ‘day’ 66.<br />

Mnemonic: PERSON SITS SPEAKING ALL DAY<br />

IN SHRINE/TEMPLE VISIT<br />

376 The Remaining 1130 Characters

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