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ing the head of an insect, with legs lined up<br />

underneath, giving ‘crawling insect with many<br />

legs’ (Ogawa); with this view, the top element<br />

could alternatively be taken as representing<br />

the insect’s body, incorporating the eyes. The<br />

seal form in Shuowen takes the lower element<br />

in as depicting two people, but a bronze<br />

form is more suggestive of legs. Unfortunately,<br />

comparison of the OBI form for with<br />

OBI forms which include ‘person’/ 41<br />

(e.g. 901 ‘multitude’) does not provide us<br />

with a definitive answer on the appropriate<br />

interpretation of this graph. TA1965:712-22;<br />

GY2008:615; MS1995:v1:612-3. Suggest taking<br />

in its meaning ‘day’.<br />

Mnemonic: COMPARE DAYS IN TERMS OF<br />

MULTITUDES OF INSECTS<br />

1358<br />

恨<br />

KON, uramu<br />

resent, regret<br />

L1<br />

9 strokes<br />

KAIKONremorse<br />

IKONgrudge<br />

uramigoto grievance<br />

Bronze ( 㫐 ) ; seal () . Though hard to<br />

distinguish, the earlier bronze form equivalent<br />

has an eye facing one way (to the left) and<br />

the body facing the other way, taken to mean<br />

‘be antagonistic’. At the seal stage, 164<br />

‘heart, mind, feelings’ was added. One view<br />

takes 281 (‘look back’, typically in anger)<br />

as phonetic with associated sense ‘not readily<br />

follow/comply’, giving ‘not readily follow/comply;<br />

defiance’; and ‘resent, regret’ presumably<br />

becomes an extended sense. Tōdō also takes<br />

as phonetic, but with associated sense<br />

‘persistently remain’, giving ‘scars remain in<br />

the heart’, and hence ‘resent, regret’. Note: Mizukami<br />

also lists another analysis for which<br />

takes as 76 ‘eye’ over 198 ‘knife’, meaning<br />

i] ‘tattoo (criminal) on rim of eye’ or ii] ‘gaze<br />

unswervingly at one point’; Tōdō’s view of <br />

follows ii]. MS1995:v2:914-5; KJ1970:410-11;<br />

TA1965:706-7.<br />

Mnemonic: STOP AND STARE WITH FEELINGS<br />

OF RESENT AND REGRET<br />

1359<br />

婚<br />

KON<br />

marriage<br />

L2<br />

11 strokes<br />

KEKKONmarriage<br />

KON’YAKUengagement<br />

MIKONSHA unmarried person<br />

Bronze ; seal . Open to various interpretations.<br />

One view (Gu) interprets as 37<br />

‘woman’ and (NJK, meaning ‘dusk, dim, unclear’)<br />

as semantic and phonetic. Gu takes <br />

as comprising , here with the meaning ‘base;<br />

go down’ (as an extended sense of 522<br />

‘clan, family, mister’, a graph which originally<br />

depicted a spoon with prong[s] for picking up<br />

meat or similar, but see Note below) over 66<br />

‘sun’, giving ‘sun goes down’; the sense ‘marry’<br />

for is taken to result as an extended sense<br />

based on the custom of weddings in ancient<br />

times being held in the evening. Katō, though,<br />

dismisses this as a popular misconception<br />

(as does Schuessler), and treats the seal form<br />

of as consisting of ‘woman’, plus <br />

as phonetic with associated sense ‘phallus,<br />

genitalia’. Shirakawa, alternatively, takes the<br />

bronze form as depicting a ladle for wine,<br />

used in celebrating the marriage ceremony.<br />

A satisfactory interpretation of this graph is<br />

elusive. Note: the posited meaning ‘go down’<br />

noted above for may result from serving<br />

as an abbreviation for similarly-shaped,<br />

a CO graph which is itself understood with<br />

meanings which include i] carving tool for<br />

gouging or chiselling out the flat bottom of<br />

a receptacle, and ii] flat land at the foot of a<br />

hill; both these interpretations of are given<br />

in Mizukami. GY2008:1347,682; KJ1970:411-<br />

2; MS1995:v2:724-6; SS1984:327,613;<br />

AS2007:289-90. We suggest taking in its<br />

sense of ‘Mister’.<br />

Mnemonic: WOMAN MARRIES HER ‘MISTER’<br />

AS THE SUN GOES DOWN<br />

The Remaining 1130 Characters 403

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