Sinographs 101 · Chapter 06
Knowing and walking
An arrow first — watch what it is for:
| Sign | Key | Says | Means | How to see it |
|---|---|---|---|---|
| 矢 | arrow | arrow | head, shaft, and fletching in five strokes | |
| 知 | know | to know, to understand | arrow beside mouth: the word that flies straight — the arrow hums the sound | |
| 而 | and-then | and, and then; but | a drawing of a beard, borrowed forever for the little joining word | |
| 行 | walk | to walk, to go; to practice | a crossroads seen from above — where walking happens | |
| 言 | speech | speech, words; to speak | your mouth under rising lines — sound on its way out |
矢 is pinned far ahead of its own frequency for one reason: 知 is built on it, and this course never shows you a compound before you own its parts. 而 is the chapter’s borrowed word — a beard, of all things, lent to the busiest clause-joiner in the language (rank five of the whole corpus). And 言 puts your 口 to work as a meaning-part: the mouth with sound rising out of it, the seed of the entire talking family of characters.
The unrecognized gentleman
The first page of the Analects holds three sayings; here is the third, one box from open:
urn:nabu:kanripo:KR1h0004:001:1a · license: attribution.
Watch 而 work: it joins “others do not know him” to “he does not resent it” with a single stroke of grammar — and-yet. Half of classical prose is clauses hinged on exactly this character.
Walking, standing, knowing
Three short sayings, all nearly or fully open:
urn:nabu:kanripo:KR1h0004:007:26a.
Line 2: Analects 2.4, as quoted in the Ming
commentary Sishu liushu ·
urn:nabu:kanripo:KR1h0052:003:6b.
Line 3: Analects 2.17 ·
urn:nabu:kanripo:KR1h0004:002:18a.
All license: attribution.
And 言 goes to work at once in the word the tradition uses for its own proverbs: 有言, yǒu yán — “there is a saying.” When a classical author writes 有言, a quotation is coming; you now read the signpost. The character itself waits one more chapter for its starring line — the most famous sentence ever written about getting names right.
Where this goes
Forty characters, 16 percent of everything. Next: the two most famous borrowed pictures in the script — a hand leading an elephant, and a dancer who lost her dance — plus the heart, the self, and the verb “to grow.”