REMMBERING KANJI - PART 9

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Nội dung Text: REMMBERING KANJI - PART 9

418 Remembering the Kanji mediator 1761 = Woman . . . so-and-so. [12] * bushel basket ¤ As the two legs at the bottom suggest, this bushel basket is a large container, standing on the µoor. Its ³rst four strokes indicate that it is made of wicker, much like the small wicker basket treated immediately above. To put something inside of the bushel basket, the legs at the bottom are attached to the ³nal horizontal stroke and extended to make a kind of enclo- sure. [8] lmn deceit 1762 ’ Bushel basket . . . yawn. [12] chess piece 1763 l Tree . . . bushel basket. [12] national µag 1764 i Banner . . . bushel basket. [14] period 1765 k Bushel basket . . . month. As the month indicates, this has to do with periods of time. [12]
lesson 46 419 Go 1766 A Bushel basket . . . stones. The key word refers to the Japanese game played with black and white colored stones on a lined board. [13] fundamentals 1767 _ Bushel basket . . . soil. [11] tremendously 1768 d Bushel basket . . . equal. Note how the ³rst stroke of equal dou- bles up with the sixth stroke of the bushel basket, and how the animal legs of the bushel basket are dropped to make room for the human legs of equal. [9] intuition 1769 ï Tremendously . . . muscle. [11] withstand 1770 ó Soil . . . tremendously. [12] * purse — By adding a single stroke at the bottom of the kanji for in, we get a sort of pictograph of a purse. [5] precious 1771 { Purse . . . shells. [12]
420 Remembering the Kanji bequeath 1772 k Precious . . . road. [15] dispatch 1773 Ü This kanji takes away the maestro’s baton and replaces it with a purse. The road represents his being dispatched on his way as an obvious mis³t. You will remember that when he did have his baton, he was being chased down the road by his fans. All of which shows what a difference a single stroke can make! [13] dance 1774 E The top two strokes show someone reclining, and the next six are a pictograph of an oaken tub ribbed with metal strips, like the kind once used for bathing. At the bottom, the sunglasses round off the character. [15] opqrs nothingness 1775 [ This character is the Japanese character for the supreme philo- sophical principle of much Oriental thought: nothingness. Make use of the oaken tub from the previous frame, and add to that the oven ³re at the bottom. [12]
Lesson 47 The several primitives we turn to next are all related to the position and dis- position of things. The classi³cation is somewhat arbitrary since we are getting hard pressed to organize the leftover primitives into tidy categories. In addi- tion, from this lesson on, most references to key words with possibly confus- ing similarities will be omitted. Try to think of them yourself as you are going through these characters. * shelf Õ The pictographic representation in the primitive shown here is a small stand with horizontal shelves. Thus we give it the gen- eral meaning of a shelf. It differs from the kanji and primitive for an eye only in its ³nal stroke, which extends beyond the two vertical strokes at both ends. Think of it as a shelf for special keepsakes or a glass bureau for knickknacks, keeping it distinct from the kanji we learned in frame 202. [5] association 1776 L Thread . . . shelf. [11] coarse 1777 J Rice . . . shelf. [11] tariff 1778 I Wheat . . . shelf. [10] ancestor 1779 H Altar . . . shelf. [9]
422 Remembering the Kanji thwart 1780 O Pinnacle . . . shelf. [8] investigate 1781 Û Tree . . . shelf. [9] help 1782 š Shelf . . . power. The reason why the shelf appears on the left here is that the right side is the normal position for power, the stronger primitive. Indeed, the only exception in all the kanji is the character for add (frame 867). [7] best regards 1783 Š This kanji, a polite way of expressing one’s best regards to another. Its elements: house . . . shelf. [8] tatami mat 1784 # Rice ³eld . . . crown . . . shelf. [12] row 1785 u This character represents a slightly stylized duplication of the kanji for stand. By lengthening the sixth and seventh strokes, you will see how this is done. [8] tuvwxyz{ * The primitive meaning remains the same as that of the kanji, but special attention has to be given to the varieties of shape this element can undergo. It is the most dif³cult one you will meet in this book. When it appears beneath its relative
lesson 47 423 primitive, the top two strokes are omitted, and the ³rst hor- izontal stroke is doubled up with the bottom horizontal stroke of the element above it, wherever possible: o. atop its relative primitive, it can keep its kanji shape. When it does not, the top three strokes are removed and all of them are replaced below the primitive’s bottom line: p. We shall acknowledge this latter transformation by changing its meaning to upside down in a row. universal 1786 3 Row . . . sun. [12] musical score 1787 : Words . . . universal. [19] damp 1788 Ó Water . . . sun . . . row. [12] appear 1789 ß Sun . . . row . . . heads. [18] slender 1790 ü Thread . . . Thanksgiving . . . row. [17] spirits 1791 ‘ Rain . . . two . . . row. This character will refer only to the inhab- itants of the “spirit world,” and not to moods or tempera- ments, for which we will learn another character in frame 1885. [15]
424 Remembering the Kanji profession 1792 % In a row upside down . . . not yet. [13] ûüý slap 1793 ï Fingers . . . upside down in a row . . . husbands. [15] me 1794 ì This key word is yet another synonym for “I,” somewhat more familiar in tone. As a rule, it is a word that boys and men use to refer to themselves. Its elements: person . . . husbands . . . in a row upside down. [14] together 1795 ß Salad . . . animal legs. [6] * The primitive retains the meaning of together. Imagine things strung together like ³sh on a line, beads on a thread, or what- ever. The main thing is to avoid putting them in a straight row, which would confound this element with the previous one. As we saw with bushel basket, this primitive can join its legs to the ³nal horizontal stroke and stretch them to form an enclosure. submit 1796 Ú Submit here is a transitive verb, meaning to offer or present. Its elements: person . . . strung together. [8]
lesson 47 425 uncommon 1797 b Brains . . . together. [11] wing 1798 ö Feathers . . . uncommon. [17] deluge 1799 t Water . . . strung together. [9] harbor 1800 v Deluge . . . snakes. [12] outburst 1801 Ü Sun . . . strung together . . . rice grains. [15] bomb 1802 Z Fire . . . outburst. [19] respect 1803 ì Strung together . . . valentine. [10] elect 1804 * Two snakes . . . strung together . . . road. [15]
426 Remembering the Kanji Mr. 1805 * Flags . . . strung together . . . missile. [13] Lesson 48 This next lesson is composed of characters whose primitives are grouped according to shape rather than meaning. Each of them makes use, in one way or another, of squares and crossing lines. While this might have brought con- fusion earlier, we know enough primitives at this stage to introduce them together without risking any confusion. well 1806 m Recalling that there are no circular strokes, and that the shape of the square and the square within a square (frame 586) have already been used, it should be relatively easy to see how this character can be consider a pictograph of a well. [4] }‚ƒ„ surround 1807 U Well . . . pent in. [7] till 1808 … Christmas tree . . . well. [10]
lesson 48 427 Asia 1809 ! In this kanji, the abbreviation for Asia, you should be able to see the character for mouth behind the Roman numeral ii. [7] …†‡ˆ bad 1810 1 Asia . . . heart. [11] circle 1811 Ò This kanji, also used for Yen, is one you are not likely to need to study formally, since you can hardly get around in Japan without it. The connection is that the yennies, like pennies, are circular in shape. In any case, the elements are: glass canopy . . . walking stick . . . one. [4] |}‚ƒ angle 1812 ¸ Bound up . . . glass canopy . . . walking stick . . . two. If you write the character once, you will see why we avoided using the ele- ment for soil, which would prompt you to write it in improper order. [7] „…†‡ * As a primitive, imagine the tool used by draftsmen and car- penters to draw right-angles. contact 1813 6 Angle . . . insect. [13]
428 Remembering the Kanji unravel 1814 m Angle . . . dagger . . . cow. [13] again 1815 ç Jewel . . . with a belt hung on it. Note how the belt is drawn right after the ³rst stroke of jewel. [6] ˆ‰Š‹Œ * funnel ½ Celery . . . again. [10] ‘’“”• lecture 1816 “ Words . . . funnel. [17] subscription 1817 • Shells . . . funnel. The key word is meant to suggest magazine subscriptions and the like. [17] posture 1818 r Tree . . . funnel. [14] gutter 1819 w Water . . . funnel. [13]
lesson 48 429 * scrapbook « Glass canopy . . . µower. It is most rare to see the µower come under its relative element. Note how it is straightened out to ³ll the space available. [5] –—˜™š argument 1820 Ç Words . . . meeting . . . scrapbook. The argument connoted by the key word is a process of academic reasoning, not a personal quarrel or spat. [15] ethics 1821 l Person . . . meeting . . . scrapbook. [10] wheel 1822 s Car . . . meeting . . . scrapbook. [15] partial 1823 ‡ Person . . . door . . . scrapbook. [11] everywhere 1824 ’ Door . . . scrapbook . . . a road. [12] compilation 1825 ‹ Thread . . . door . . . scrapbook. [15]
430 Remembering the Kanji tome 1826 G This key word is a counter for books. It differs from scrapbook both in the writing order and in the extension of the second horizontal stroke. [5] ›œŸ code 1827 ø We introduce this character here because of its connection to the book-related kanji treated above. It is based on the charac- ter for bend (frame 1172), whose last stroke is lengthened to coincide with the ³rst stroke of the element for tool. [8] Lesson 49 A few primitives having to do with groupings and classi³cations of people remain to be learned, and we may bring them all together here in this short lesson. family name 1828 ’ Pay close attention to the stroke order of the elements when learning to write this character. The elements: a long drop . . . ³shhook . . . a one (here written right to left) . . . ³shhook. [4] ¡¢£¤
lesson 49 431 paper 1829 — Thread . . . family name. [10] marriage 1830 È Woman . . . family name . . . day. [11] * calling card Family name . . . µoor. [5] O lower 1831 È Person . . . calling card. [7] resist 1832 Ö Fingers . . . calling card. [8] bottom 1833 Ñ Cave . . . calling card. [8] people 1834 W In place of the drop at the start of the character for family name, we have a mouth, which makes you think of the “vox populi.” [5] ¥¦§¨© sleep 1835 X Eyes . . . people. [10]
432 Remembering the Kanji * dog tag ¡ This primitive refers to all sorts of identi³cation tags, but dog tag is chosen for its descriptiveness. On the top we see the arrowhead, joined to the screwdriver below by the lengthened vertical stroke. [7] ª«¬−° catch 1836 œ Flowers . . . dog tag. [10] bay 1837 ª Water . . . dog tag. [10] bullrush 1838 Þ Flowers . . . bay. [13] shop 1839 ™ Cottage . . . dog tag. The key word refers to the noun, not the verb. [15] supplement 1840 ¢ Cloth . . . dog tag. [12] * city walls On the left, and rather more pressed in its form, this element meant the high spot of a village, or its pinnacle. On the right J side, in the form shown here, it means the lowest part of the
lesson 49 433 city, around which its walls rise up as a protection against invaders. Hence we nickname this element: city walls. [3] residence 1841 ä Calling card . . . city walls. [8] enclosure 1842 » Receive . . . city walls. [11] county 1843 u Old boy . . . city walls. [10] outskirts 1844 – Mingle . . . city walls. [9] section 1845 H Muzzle . . . city walls. [11] metropolis 1846 @ Someone . . . city walls. [11] mail 1847 Ì Droop . . . city walls. [11] home country 1848 Í Bushes . . . city walls. [7]
434 Remembering the Kanji hometown 1849 ø Cocoon . . . silver . . . city walls. [11] echo 1850 ú Hometown . . . sound. [20] son 1851 Á Halo . . . city walls. [9] corridor 1852 ³ Cave . . . son. [12] Lesson 50 In this lesson we simply present an assortment of leftover primitives that were not introduced earlier for want of a proper category or because we had not enough elements to give suf³cient examples of their use. * drag ± Althoughnot a pictograph in the strict sense, this primitive depicts one stroke pulling another along behind it. Note how it differs from cliff and person because of this dragging effect,not to mention the fact that the ³rst stroke is written right to left, almost as if it were a long drop. When this element comes under a different element, the strokes are drawn apart like this: ¼. [2]
lesson 50 435 ±² shield 1853 ƒ Dragging . . . ten eyes. [9] sequential 1854 x Line . . . shield. [12] faction 1855 $ Water . . . drag . . . rag. Back in frame 1048 we indicated that this latter radical would come up once again, as it does in this and the following two frames. [9] vein 1856 T Part of body . . . drag . . . rag. [10] masses 1857 L Blood . . . drag . . . rag. [12] parcel post 1858 ã Drag . . . cornstalk . . . belt . . . road. [10] grade 1859 B The kanji connoting rank or class shows us a new element on the left: the familiar primitive for staples with an additional stroke cutting through the vertical stroke. It is easiest in these cases to make a primitive related to what we already know. Hence, we call it a staple gun. To the right, missile. [9]
436 Remembering the Kanji ´µ·¸¹º» ¼½ forge 1860 9 Metal . . . grade. [17] empress 1861 U Drag . . . one . . . mouth. [6] * clothes hanger ‘ This element, which looks something like a backwards hook, we will call a clothes hanger. Used as an enclosure, it begins further to the left. [1] phantasm 1862 å Cocoon . . . clothes hanger. [4] director 1863 s Clothes hanger . . . one . . . mouth. [5] pay respects 1864 p This honori³c form of call on (frame 495) is made up of: per- son . . . director. [7] parts of speech 1865 Ÿ The key word, parts of speech, refers to nouns, verbs, adjective, adverbs, and so on. The elements: words . . . directors. [12]
lesson 50 437 domesticate 1866 ¨ Eat . . . director. The sense is of rearing of animals. [13] heir 1867 u Mouth . . . scrapbook . . . director. [13] boat 1868 J After the drop and the glass canopy, we come to a combination of three strokes that we met only once before, in the character for mama (frame 101). The pictographic meaning we gave it there has no etymological relationship to this character, but use it if it helps. [6] ¾¿ÀÁÂÃ liner 1869 U The type of boat connoted by this key word is a large ocean- going liner. The important thing here is to work with the ele- ments boat and dove to make an image distinct from that of the former frame. Don’t count on size alone to distinguish the boat from the liner. [11] navigate 1870 ‹ Boat . . . whirlwind. [10] carrier 1871 “ Boat . . . missile. [10]

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