The total number in the six classes is twenty-four thousand two hundred and thirty-five, being many less than are found in Kanghí’s Dictionary, which amount to forty-four thousand four hundred and forty-nine; but in the larger sum are included the obsolete and synonymous characters, which, if deducted, would reduce it to nearly the same number. It is probable that the total of really different characters in the language sanctioned by good usage, does not vary greatly from twenty-five thousand, though authors have stated them at from fifty-four thousand four hundred and nine, as Magaillans does, up to two hundred and sixty thousand eight hundred and ninety-nine, as Montucci. The Chinese editor of the large lexicon on which Dr. Morrison founded his Dictionary, gives it as his opinion that there are fifty thousand characters, including synonyms and different forms; and taking in every variety of tones given to the words, and sounds for which no characters exist, that there are five thousand different words. But even the sum of twenty-five thousand different characters contains thousands of unusual ones which are seldom met with, and which, as is the case with old words in English, are not often learned.
The burden of remembering so many complicated symbols, whose form, sound, and meanings are all necessary to enable the student to read and write intelligibly, is so great that the result has been to diminish those in common use, and increase their meanings. This course of procedure really occurs in most languages, and in the Chinese greatly reduces the labor of acquiring it. It may be safely said, that a good knowledge of ten thousand characters will enable one to read any work in Chinese, and write intelligibly on any subject; and Prémare says a good knowledge of four or five thousand characters is sufficient for all common purposes, while two-thirds of that number might in fact suffice. The troublesome ones are either proper names or technics peculiar to a particular science. The nine canonical works contain altogether only four thousand six hundred and one different characters, while in the Five Classics alone there are over two hundred thousand words. The entire number of different characters in the code of laws translated by Staunton is under two thousand.
MODES OF ARRANGING CHARACTERS.
The invention of printing and the compilation of dictionaries have given to the form of modern characters a greater degree of certainty than they had in ancient times. The variants of some of the most common ones were exceedingly numerous before this period; Callery gives forty-two different modes of writing pao, ‘precious;’ and forty-one for writing tsun, ‘honorable;’ showing the absence of an acknowledged standard, and the slight intercourse between learned men. The best mode of arranging the characters so as to find them easily, has been a subject of considerable trouble to Chinese lexicographers, and the various methods they have adopted renders it difficult to consult their dictionaries without considerable previous knowledge of the language. In some, those having the same sound are grouped together, so that it is necessary to know what a character is called before it can be found; and this arrangement has been followed in vocabularies designed principally for the use of the common people. One well-known vocabulary used at Canton, called the Făn Yun, or ‘Divider of Sounds,’ is arranged on this plan, the words being placed under thirty-three orders, according to their terminations. Each order is subdivided into three or four classes according to the tones, and all the characters having the same tone and termination are placed together, as kam, lam, tam, nam, etc. As might be supposed, it requires considerable time to find a character whose tone is not exactly known; and even with the tone once mastered, the uncertainty is equally troublesome if the termination is not familiar: for singular as it may seem to those who are acquainted only with phonetic languages, a Chinese can, if anything, more readily distinguish between two words ♯ming and ♭ming, whose tones are unlike, than he can between ♯ming and ♯meng, ♯ming or ♯bing, where the initial or final differs a little, and the tones are the same.
An improvement on this plan of arrangement was made by adopting a mode of expressing the sounds of Chinese characters introduced by the Buddhists, in the Yuh Pien, published A.D. 543, and ever since used in all dictionaries. This takes the initial of the sound of one character and the final of another, and combines them to indicate the sound of the given character; as from li-en and y-ing to form ling. There are thirty-six characters chosen for the initial consonants, and thirty-eight for the final sounds, but the student is perplexed by the different characters chosen in different works to represent them.[291] The inhabitants of Amoy use a small lexicon called the Shih-wu Yin, or ‘Fifteen Sounds,’ in which the characters are classified on this principle, by first arranging them all under fifty finals, and then placing all those having the same termination in a regular series under fifteen initials. Supposing a new character, chien, is seen, whose sound is given, or the word is heard in conversation and its meanings are wanted, the person turns to the part of the book containing the final ien, which is designated perhaps by the character kien, and looks along the initials until he comes to ch, which is indicated by the character chang. In this column, all the words in the book read or spoken chien, of whatever tone they may be, are placed together according to their tones; and a little practice readily enables a person speaking the dialect to use this manual. It is, however, of little or no avail to persons speaking other dialects, or to those whose vernacular differs much from that of the compiler, whose own ear was his only guide. Complete dictionaries have been published on the phonetic plan, the largest of which, the Wu Ché Yun Fu, is arranged with so much minuteness of intonation as to puzzle even the best educated natives, and consequently abridge its usefulness as an expounder of words.
CLASSIFICATION ACCORDING TO COMPOSITION.
The unfitness of either of these modes of arrangement to find an unknown character, led to another classification according to their composition, by selecting the most prominent parts of each character as its key, or radical, and grouping those together in which the same key occurred. This plan was adopted subsequently to that of arranging the characters according to the sounds, about A.D. 543, when their number was put at five hundred and forty-two; they were afterward reduced to three hundred and sixty, and toward the close of the Ming dynasty finally fixed at two hundred and fourteen in the Tsz’ Lui. It is now in general use from the adoption of the abridged dictionary, the Kanghí Tsz’ Tien; though this number could have been advantageously reduced, as has been shown by Gonçalves, its universal adoption, more than anything else, renders it the best system. All characters found under the same radical are placed consecutively, according to the number of strokes necessary to write them, but no regularity is observed in placing those having the same number of strokes. The term primitive has been technically applied to the remaining part of the character, which, though perhaps no older than the radical, is conveniently denoted by this word. The characters selected for the radicals are all common ones, and among the most ancient in the language; they are here grouped according to their meanings in order to show something of the leading ideas followed in combination.
RADICALS AND PRIMITIVES.
Corporal.—Body, corpse, head, hair, down, whiskers, face, eye, ear, nose, mouth, teeth, tusk, tongue, hand, heart, foot, hide, leather, skin, wings, feathers, blood, flesh, talons, horn, bones.
Biological.—Man, woman, child; horse, sheep, tiger, dog, ox, hog, hog’s head, deer; tortoise, dragon, reptile, mouse, toad; bird, gallinaceous fowls; fish; insect.