續一切經音義 1
English (machine translation) 1
- Language
- English
1.1
Compiled by the monk Xilin of Chongren Temple in Yanjing.
1.2
Now, it is heard that when pristine simplicity was harmed and virtue was weakened, humaneness and righteousness gradually unfolded. When knotting cords was abandoned and the milfoil and tortoise [oracles] were established, writing arose. Looking up to observe the heavenly phenomena and looking down to inspect earthly forms, Cangjie first instituted the ancient script, and Shi Zhou compiled the large seal script. Handed down across generations, it underwent alterations according to the times. The large seal and ancient scripts were slightly different in their application. Coming to the Zhou dynasty, the Official for Protectors of the Son of Heaven oversaw the state academy and taught the six principles of character formation according to the Way: pictograms, simple ideograms, compound ideograms, phono-semantic compounds, mutually annotating characters, and phonetic loan characters. These six are the foundation of character creation. Though worm-seal script evolved in form and ancient and modern scripts differed in graph, any departure from these six principles results in errors and confusion. At the end of the Spring and Autumn period, the teachings of the Protector were neglected. When Qin unified the empire, Prime Minister Li Si examined the Zhou script and separately created the small seal script. Clerks strove for simplification, and the variant forms became somewhat corrupt. Cheng Miao altered the script, which was called clerical script. With the rise of the Han dynasty, the study of calligraphy flourished: Yang Xiong authored the Xunzhuan in eighty-nine chapters, and Ban Gu added thirteen chapters, so that the characters used across the literature were generally complete. In the Later Han, Xu Shen assembled the scholarship of the various traditions of ancient, Zhou, and seal scripts, issuing an index of 540 radicals; using the clerical script for glosses and annotations, he composed the Shuowen jiezi. At that time, Cai Bojie, also lamenting that classical scholarship had fallen into decay, petitioned to establish the standard forms of the Five Classics, carving them on stone erected at the gates of the Imperial Academy; these were known as the Stone Classics. Furthermore, Lü Chen composed the Zilin in five fascicles to supply what had been omitted or missed by Xu and Cai. Coming down to the Tang dynasty, academies for the Shuowen, the Stone Classics, and the Zilin were established. During the Dali era, the Filial and Incorrupt candidate Yan Chuanjing, Director of Studies in the State Academy Zhang Shen, and others were commanded to standardize the orthodox forms of the characters of the Five Classics. There were also the Zhitong, the Zhijing, Mr. Lu's Shiwen, Zhang Shen's Kaosheng, the Yunpu, the Yunying, the Yunji, and the Yunlüe. Since authors and works were numerous, expansions and contractions coexisted. They all broadly drew upon the three histories and adduced proofs from the nine classics. If this writing possesses a distinct intent, then its meaning will be without discrepancy. The emergence of pronunciation and meaning thus has a longstanding origin. How much more so for the teachings of the World-Honoured One! The wondrous scriptures of the four Āgamas speak of phenomenal forms in the provisional teachings, while the true lineage of the eight classes displays the unconditioned (asaṃskṛta) in the absolute limit of reality (bhūtakoṭi). Absolute and conventional truths are both set forth; Chinese and Sanskrit are both comprehended. Making use of sounds, names, phrases, and characters as signifiers, they express bodhi and nirvāṇa as the realised object. Expounded from India, they were translated and spread to Cīna. Translated and transmitted back and forth, transcribed in ancient and modern times: in Sanskrit phonetics, a single character may have a twofold function, leading to errors regarding the rising and departing tones among the twelve vowels; numerous characters converge into one, causing doubt regarding nominative or accusative cases within the eight case inflections. Examining strokes and dots: for instance, yan (以冉) and shan (舒贍) are confused between the hand and wood radicals; zhang (知亮) and chang (丑仗) are mixed between heart and cloth radicals; xi (都奚) and di (直尼) are mistaken by adding the stepping-stride radical or the human radical; guan (古玩) and luo (胡瓦) are confused between the clothing radical and the altar radical; tao (吐刀) and chan (丑冉) are not distinguished; yao (以小) and xian (音陷), zhuang (側亮) and mu (莫后) are indistinguishable; niu (語求) and qiang (疾良) cause confusion; missing a single stroke renders shu into zai; lacking a dot impairs xie into fu. Errors of this sort are indeed rampant. If they are not investigated in detail, they will gradually distort the great meaning. Therefore, at the beginning of the Tang, there was the monk Xuanying, who uniquely exercised prior awakening and was naturally endowed with inborn knowledge. He clearly understood the different idioms of Chinese and Sanskrit and recognized rare characters from ancient and modern times. He first initiated this intention, diligently striving to examine them in detail; beginning with the ancient Huayan jing and concluding with the Abhidharmanyāyānusāra, he compiled twenty-five fascicles of Jingyin yi. Next, the monk Huiyuan compiled two fascicles of Xin Huayan yinyi. Furthermore, the monk Master Yun compiled two fascicles of Niepan yinyi. In addition, Master Ji of the Great Cien Temple compiled one fascicle of Fahua yinxun. However, either they were not comprehensive across the Tripiṭaka, or they were limited to a single scripture; when looking for glosses, gaps remained, and the compilations were disorderly. Toward the end of the Jianzhong era of the Tang, there was the monk Huilin. Internally he was meticulous in Esoteric Buddhism, entering the gate of dhāraṇī; externally he investigated the ink traditions, examining the essence of written characters. The subtleties of Indian śabdavidyā and the profundities of Chinese phonology: having received them as a filled vase from earlier masters, he also poured them out like a fountain to later students. Settling his mind for twenty years, he perused the complete Buddhist Canon, compiling a total of one hundred fascicles of pronunciation and meaning. Based on the Kaiyuan shijiao lu, beginning with the Mahāprajñāpāramitā and concluding with the Huming fa, the scriptures glossed totaled 5,048 fascicles in 480 wrappers. Following the Kaiyuan catalogue, successively translated scriptures and treatises, as well as supplementary Vinaya works and biographies, from the Mahāyāna-naya-ṣaṭpāramitā-sūtra through to the end of the Kaiyuan shijiao lu, totaled 266 fascicles in 25 wrappers. These were not recorded in the previous pronunciation [work], and they are what is continued now. Prostrating, I consider that the patron of the copy, Master Wu'ai, is innately endowed with sagacity and divinely bestowed with brilliant intelligence. He lectures comprehensively on all scriptures and extensively weaves commentaries and digests. Carrying on the transmission of the lamp is ever in his mind; benefiting living beings is his purpose. Seeing that the pronunciation and meaning was incomplete and worrying that deficiencies would remain when searching the texts, he accordingly sent a gracious letter commanding my humble self. Ordering me to face the light of the sun, I merely display the light of a firefly. However, there may be cases where character analyses are broad or concise, where explanations of meaning are shallow or deep, or where Chinese-Sanskrit translations diverge between ancient and modern times. Although I have relied on authoritative sources, I await future talents, hoping they will re-examine them in detail, so that no confusion remains.
1.3
Pronunciation of the Mahāyāna-naya-ṣaṭpāramitā-sūtra, one wrapper, ten fascicles.
1.4
The above, from the first through the tenth fascicle, is continued in this wrapper for pronunciation.
1.5
Mahāyāna-naya-ṣaṭpāramitā-sūtra, Fascicle One (including characters from the preface to the scripture)
1.6
Da pu 大朴 (The upper character is the fanqie tu + gai; the Cangjie pian states: 'Da means great.' The Book of Changes states: 'Great indeed is Qian the Origin, from which all things take their start.' The lower character is the fanqie pu + bo, properly written as the character 樸. The Shuowen states: 'It is the raw state of wood.' The Shenglei states: 'Anything not yet carved is called pu.' Wang Bi states: 'Pu means genuine, like the formless state of qi before differentiation.' The Zhuangzi states: 'If pristine simplicity is not harmed, who would make sacrificial goblets?' It also states: 'Now, harming raw wood to make utensils is the fault of the craftsman; destroying virtue to establish humaneness and righteousness is the fault of the sage.').
1.7
Wan lai 萬籟 (The upper character is the fanqie wu + yuan; properly written as the character 万. The Suanjing states: 'Ten thousand is called 万.' It is now written as 萬, which was originally the name of an insect, a prefecture, and a family surname; it was customarily borrowed for the character 万. The lower character is the fanqie luo + da; it is the name of a musical instrument. The Shuowen states: 'The da lai is a small flute.' Guo Pu's commentary on the Erya states: 'A large flute has twenty-three pipes and is one chi four cun long; a small one has sixteen pipes and is one chi two cun long, also named lai.' The character takes the bamboo radical with the phonetic lai. The text of the preface takes the grass radical, forming 藾, which is the name of an artemisia and not the usage here.).
1.8
Fen lun 紛綸 (The upper character is the fanqie fang + wen; the Guangya states: 'Fen indicates the appearance of multiplicity.' The Kaosheng states: 'Disordered.' The lower character is the fanqie lü + zhun; the Book of Changes states: 'Lun means to regulate.' The commentary on the Taixuan jing states: 'Lun means to entwine.' We now examine that fenlun describes the flourishing appearance of an intricate and entwined confluence. In the Shuowen, both characters take the silk radical with the phonetics fen and lun. The silk radical 糸 is pronounced mi.).
1.9
Xu ri 旭日 (The upper character is the fanqie xiong + yu; the Qieyun states: 'The sun first emerging.' The Shuowen states: 'The sun emerging at dawn.' The Kaosheng states: 'Xu means bright; it takes the sun radical and jiu, with jiu also serving as the phonetic.' The lower character is the fanqie ren + yi; the Shuowen states: 'Full; the unwaning essence of the supreme yang; it takes the mouth radical with yi as phonetic.' The mouth radical is pronounced yu + fei, resembling an encircling mouth shape.).
1.10
Jibin 罽賓 (The upper character is the fanqie ju + you; the name of a country in the Western Regions. Sometimes called Geshimiluoge or Jiayemiluo, these are all phonetic corruptions of the Sanskrit. The correct form is Kaśmīra. This is translated as 'Who Enters?'. When this country had not yet established its capital, there was a great dragon pond which people dared not approach. An arhat, observing that the terrain was suitable for human habitation, begged the dragon for a plot of land that could accommodate one knee. At that time, the dragon granted it. The arhat gradually enlarged his body until his knee filled the dragon pond. The dragon, bound by his word, abandoned it and departed. The arhat then used his supernormal power to dry up its waters, and thereupon built city walls. The populace all said: 'Were it not for the holy master, who would dare enter?' Because of these words, it was established as the name of the country.).
1.11
Kongbian 空𧦬 (The upper character is the fanqie ku + hong; the Qieyun states: 'Great; also unobstructed.' The Shuowen states: 'Takes the radical rong with gong as phonetic.' The lower character is the fanqie fu + zhong; character books state: 'Principle.' The Kaosheng states: 'Bright.' It is also the fanqie pi + bian; the Qieyun states: 'To instruct.' We now examine that the two characters Kongbian are the name of a monk.).
1.12
Genggai 梗槩 (The upper character is the fanqie gu + xing; the Erya states: 'Geng means upright.' The Guangya states: 'Broad outline.' Zheng's commentary on the Liji states: 'A leveling measure for grain.' Xue's commentary on the Dongdu fu states: 'Genggai means not minute and delicate.' The Shiwen states: 'Broad outline.' Both characters take the wood radical with the phonetics geng and ji.).
1.13
Bhagavat 薄伽梵 (The upper character is the fanqie bang + ge; in Sanskrit, sometimes called Pogapuo, or Bogaban; the correct form is Bhagavān. The syllable po is the fanqie pu + he; fan is the fanqie wang + fan. The translation monk Huilin says: 'The ancient translation is World-Honoured One, meaning that both the worldly and world-transcending realms revere Him. It is also the tenth epithet among the ten epithets [of a Buddha].' The Mahāprajñāpāramitopadeśa states: 'The revered titles of the Tathāgata are immeasurable; briefly stated, there are six: sovereign autonomy, blazing splendour, graceful majesty, fame, auspiciousness, and supreme nobility.' The term Bhagavat encompasses these six meanings, so translators retain the Sanskrit term.).
1.14
Kalandaka 迦蘭多迦 (The upper and lower characters are both the fanqie jiang + qia; formerly rendered Kalanduo or Galanduojia, both being phonetic corruptions of the Sanskrit. The correct form is Kalandaka. This is translated as 'the bird of pleasant sound'. Near the city of Rājagṛha there was a great bamboo grove, and this bird frequently nested in this great grove, whence the grove took its name. It is the place where this Naya-prajñāpāramitā was expounded.).
1.15
Asaṃkhyeya 阿僧企耶 (Qi is the fanqie qing + yi; ye is the fanqie yi + zhe; the correct Sanskrit term. Formerly rendered as asengqi; this is translated as 'innumerable' (wuyangshu), meaning the culmination of numbers. The Gu Huayan yinyi states: 'Among the one hundred and twenty numbers, the innumerable corresponds to the one hundred and twentieth.' Furthermore, according to the Hīnayāna numbering, Master Cien cited the Abhidharmakośa stating that the original numbers were sixty, eight of which were lost in transmission, and the innumerable corresponds to the fifty-second number.).
1.16
Yihu 依怙 (The upper character is the fanqie yu + xi; the Yupian states: 'To rely on.' The Qieyun states: 'To follow.' The Analects states: 'Rely on humaneness.' The Shuowen explains that it is a compound ideogram consisting of two persons leaning against each other. The lower character is the fanqie hu + gu; the Erya states: 'Hu means to depend on.' The Hanshi waizhuan states: 'Hu means to rely on.' The Mao Commentary on the Shijing states: 'Without a father, whom can one rely on?' It takes the heart radical with gu as phonetic.).
1.17
Jiyang 羈鞅 (The upper character is the fanqie ju + yi; character books state: 'To tether.' The Yunji states: 'A leather strap encircling a horse's head.' The Shuowen explains it as a compound ideogram taking the leather radical with a horse restrained. The lower character is the fanqie yu + liang; the Yupian states: 'Strong.' The Qieyun states: 'A carriage harness.' It also states: 'The rope for an ox's neck.' The character takes the leather radical with yang as phonetic.).
1.18
Mingxing 明星 (For the upper character, the Shuowen derives it from [囗@(儿/口)], writing it as 明; Cai Yong wrote it with the eye radical as 明; the ancient script wrote it with the sun radical as 明. All three forms are acceptable; the classical scriptures mostly use the ancient script form. The character [囗@(儿/口)] has the fanqie gui + yong. For the lower character xing, the ancient script wrote it as 曐. The Erya states: 'The bright star is called Qiming.' Guo Pu's commentary states: 'The Great White Star (Venus). Appearing in the east at dawn, it is Qiming; appearing in the west at dusk, it is Taibai.').
1.19
Hui fu 洄澓 (The upper character is pronounced hui; the lower character is pronounced fu. The Erya states: 'To go against the current is called suhui.' Guo's commentary states: 'It refers to a swirling vortex.' The San Cang states: 'Fu means deep; it refers to the swirling eddies in rivers and seas.').
1.20
Garuḍa 迦嚕羅 (The middle character is the fanqie li + gu; also called Jialouluo or Jielucha; the correct form is Garuḍa. This translates as 'wondrous wings', also 'golden wings', or 'the dragon's enemy'. Examining the Qishi jing: the golden-winged bird and the dragon each possess four modes of birth. An egg-born golden-winged bird feeds only on egg-born dragons because its strength is small, up to an apparitionally born golden-winged bird which feeds on dragons of all four modes of birth because its majestic strength is great; the other two modes of birth may be inferred accordingly.).
1.21
Louzhe 僂者 (The upper character is the fanqie li + zhu; Du's commentary on the Zuozhuan states: 'Lou means hunchbacked, a curved back.' The Guangya states: 'A curved body.' The Shuowen states: 'A cripple.' It takes the person radical with an abbreviated lü as phonetic.).
1.22
Luozhe 裸者 (The upper character is the fanqie hua + wa, pronounced thus to avoid a vulgar taboo; the original pronunciation is the fanqie lang + guo. Gu Yewang states: 'Luo means shedding garments and exposing oneself bare.' The Shuowen takes the clothing radical with guo to form 裸; character books take the body radical to form 躶; the Yupian takes the person radical to form 倮; all three forms are acceptable. The scriptural text uses the altar radical to form 祼, pronounced guan, which is a scribal error.).
1.23
Deaf and mute (聾瘂: the upper character has the fanqie 祿東. The Zuo zhuan says: "When the ears do not hear the harmony of the five tones, it is called deaf." Du Yu says: "Deaf means darkened [in hearing]." The Shuowen says: "It is formed with [the semantic element] 'ear' (耳) and [the phonetic element] lóng (龍); a phono-semantic character." In the sūtra text it is written as 韻, which does not form the proper character. The lower character has the fanqie 鵶賈. The Kaosheng says: "Unable to speak; though having voice, one is without words." The Gujin zhengzi says: "瘂 means dumb (瘖)." The Shuowen says: "It is formed with [the semantic element] nǐ (疒; fanqie 女厄) and [the phonetic element] yà (亞)." In the sūtra text it is written with 'mouth' (口) as 啞, pronounced è, meaning the sound of laughing, which is not the meaning intended in the sūtra).
1.24
Wangliang spirits (魍魎: the upper character is pronounced wǎng; the lower character is pronounced liǎng. Jia [Kui]'s commentary to the Guoyu says: "Water monsters and forest demons." The Huainanzi says: "The wangliang is shaped like a three-year-old child, red-black in colour, with red eyes, red claws, long ears, and beautiful hair." Some editions write 蝄蜽, which is also used interchangeably).
1.25
Whetstone-flat palm (砥掌: the upper character has the fanqie 脂履. Du [Yu]'s commentary to the Zuo zhuan says: "Dǐ (砥) means flat." The Cang Jie pian says: "A whetstone." In the sūtra text it is written with [the radical] 'hand' (手) as 抵, meaning to strike, which is not the meaning of 'flat as a whetstone and a palm').
1.26
Narrow and constricted (隘陿: the upper character has the fanqie 鵶介. The Guangya says: "Pressed/confined." Wang Yi's commentary to the Chuci says: "Ài (隘) means perilous and narrow (阸)." It is also written as 阸. The lower character has the fanqie 咸甲. Gu Yewang says: "Pressed and confined." The Shuowen says: "It is formed with [the semantic element] fù (阜) and [the phonetic element] jiá (匧)." In the sūtra text it is written with 'dog' (犬) as 狹, which denotes familiarity and presumption, not its proper usage here).
1.27
Market dwelling and hamlet (廛里: the upper character has the fanqie 直連. The Kaosheng says: "Vacant ground in a market; it also means a residence." In the sūtra text it is written as 𫮈, which is a vulgar character. The lower character has the fanqie 良史. The Zhouli says: "Five households make a lín; five lín make a lǐ." The Fengsu tong says: "A lǐ means to dwell (止), referring to fifty households dwelling together").
1.28
Parrot (鸚鵡: the upper character has the fanqie 烏耕. The lower character is also written as 䳇; both forms have the same sound wǔ. The Shanhai jing says: "On Mount Huang there are birds with green feathers, red beaks, and human tongues, capable of human speech, called yīngwǔ." The Liji says: "The parrot can speak, yet does not cease to be a flying bird"; this is it. Both characters are phono-semantic characters).
1.29
Yak (𤛆牛: the upper character is pronounced máo. It is the name of an ox among the southwestern barbarians, also called the long-haired ox. The lower character has the fanqie 語求. The Shiben says: "Xié, a minister of the Yellow Emperor, attained immortality and domesticated oxen." The Shiji says: "Zhou dragged nine oxen backward").
1.30
Zebu (犎牛: the upper character is pronounced fēng. The Shanhai jing says: "A wild ox of the south." The Jizhu Erya says: "The 'Chancellor ox' now presented by Jiaozhi is this." Guo Pu's commentary to the Shichu section says: "On the neck, the flesh of the hump rises about two feet high, like the fleshy saddle of a camel; today colloquially called the hump-ox (峯牛), this is it." 犦 is pronounced bǎo; 胅 has the fanqie 田頡).
1.31
Brown bear and grizzly bear (熊羆: the upper character has the fanqie 羽弓. The Mao Shi says: "There were brown bears and grizzly bears." The Shuowen says: "A beast resembling a swine, living in the mountains and hibernating in winter, licking its paw; its paw is called fán." Fán has the sound of 煩. The lower character is pronounced bēi. The Erya says: "The pí resembles a bear, with yellowish-white markings." Guo Pu says: "It resembles a bear, with a long head and high legs; fierce, powerful, and capable of uprooting trees").
1.32
Tiger and leopard (虎豹: the upper character has the fanqie 呼古. The Shuowen says: "The lord of beasts. Formed with [the semantic element] hū (虍; fanqie 呼) and [the semantic element] 'human' (人), because the tiger's feet resemble human feet." The lower character has the fanqie 包貌. The Shuowen says: "Resembling a tiger, with rounded markings and black rosettes, smaller than a tiger. The character is formed with [the semantic element] zhì (豸) and [the phonetic element] bāo (包) abbreviated. Zhì is pronounced zhì").
1.33
Jackal and wolf (豺狼: the upper character has the fanqie 牀皆. The Erya says: "The chái has the feet of a dog." The Shuowen says: "A relative of the wolf. Formed with [the semantic element] zhì (豸) and [the phonetic element] cái (才)." In the sūtra text it is written with 'dog' (犬) as 犲, which is incorrect. Note: of the chái there are two kinds: the larger is called chái-láng, the smaller is called chái-nú. The smaller ones go ahead to hunt roe deer and ordinary deer together; having killed them, they guard them and dare not eat them immediately, awaiting the chái-láng to arrive later and eat their fill first, after which the chái-nú eat the leftover flesh. Thus the Yueling says: "Five days later, the jackals sacrifice beasts"; this refers to them).
1.34
Konghou harp (箜篌: the upper character is pronounced kōng; the lower character is pronounced hóu. The name of a musical instrument. The Shiming says: "Made by Shi Yan; it later emerged in the wasteland between the Sang and Han rivers, probably preserved by a marquis (侯) of a deserted country (空國)." It also says: "Shi Jian played it for the Lord of Jin, and when Zheng and Wei divided the territory and held it, it came to be called the licentious music of Zheng and Wei").
1.35
Viper and snake (蚖蛇: the upper character has the two fanqie readings 五官 and 愚轅; the lower character has the fanqie 社遮. The Baopuzi says: "There are very many kinds of snakes, but only the bite of the yuán-shé harms a person most urgently. If one cuts out the flesh where it bit with a knife and casts it to the ground, the flesh boils of itself like being roasted on fire and in a moment is completely charred to ash; only then does the person survive." Both characters are formed with 'insect' (虫) and phonetic yuán (元) and tuó (它)).
1.36
Viper and scorpion (蝮蠍: the upper character has the fanqie 芳伏. The Erya says: "The fù-huǐ is three inches wide, its head as large as a thumb." Guo Pu's commentary says: "Like a person's thumb." The Shiji says: "If a viper bites the hand, sever it." The lower character has the fanqie 軒謁; it is a widespread word throughout the four quarters. The Shuowen says: "A venomous creature, its tail curling upward." The Yupian says: "A scorpion (蠆). Formed with [the semantic element] chóng (虫) and [the phonetic element] xiē (歇); a phono-semantic character." In the sūtra text it is written as 蝎, pronounced hè, meaning a wood-boring grub (蛣崛), which deviates from the meaning of 'viper and scorpion').
1.37
Fish and softshell turtle (魚鼈: the upper character has the fanqie 語居. The Shuowen says: "An aquatic creature." The Erya says: "The tail of a fish is called bǐng." Guo [Pu]'s commentary says: "It resembles the seal-script character bǐng (丙); colloquially written as the character yú (魚)." The lower character has the fanqie 鞭滅. The Shuowen says: "A shelled aquatic creature. Formed with [the semantic element] mǐn (黽) and [the phonetic element] bì (敝)." In the sūtra text it is written with 'fish' (魚) as 鱉, which is a vulgar character. Mǐn is pronounced měng).
1.38
Giant softshell turtle and alligator (黿鼉: the upper character is pronounced yuán. The Shuowen says: "A large softshell turtle; the large ones are like cartwheels, the small ones like basins. It possesses spiritual power, can command aquatic creatures, bewitches people, and eats them." The lower character has the fanqie 唐多. The Shanhai jing says: "The Changjiang river has many alligators." Guo [Pu]'s commentary says: "It resembles a lizard, with scales; the large ones are over a zhang long, the small ones four or five feet." The Shuowen says: "A shelled aquatic creature. Formed with [the semantic element] mǐn (黽) and [the phonetic element] dān (𠹈) abbreviated. Mǐn is pronounced měng; 𠹈 is pronounced nà." In the sūtra text both characters are written below with 'turtle' (龜) as [元/龜] and 鼉, which are vulgar characters and incorrect).
1.39
Fenghuang (鳳凰: the upper character has the fanqie 馮貢; the lower character is pronounced huáng. The Erya says: "The male is the fèng, its female the huáng." Guo Pu's commentary says: "An auspicious bird." Xu Shen's Shuowen says: "A divine bird, emerging from the Country of Gentlemen in the east, soaring beyond the four seas. It has dragon markings, a tortoise back, a swallow's throat, a cock's beak, and is complete in all five colours. Without a wutong tree it does not perch; without bamboo seeds it does not eat. Singing at dawn is called 'Manifesting Brightness' (發明); singing at noon is called 'Surpassing the New Moon' (上朔); singing at dusk is called 'Full Prosperity' (滿昌); singing at twilight is called 'Solid Constancy' (固常); singing at night is called 'Preserving Long Duration' (保長). When seen, the realm is at great peace").
1.40
The hat of sumozhe (蘇莫遮冐: the lower character has the fanqie 毛報. The Shuowen says: "A head covering for small children and barbarians. Formed with [the semantic element] mù (目) and [the phonetic element] yuē (曰)." Yuē has the same pronunciation as above. The Wenzi jilüe writes it with jīn (巾) as 帽, which is also permissible. Note: sumozhe is a barbarian word, originally said as sàmezhē, translated here as 'entertainment' (play). It originates from the Kingdom of Kucha, and to this day there is still this tune, which is of the kind of the Damian and Botou plays).
1.41
Boat and raft (船筏: the upper character has the fanqie 順專; a boat. The Fangyan says: "West of the Pass, a boat (zhōu) is called a chuán." Note: the Shuowen states that it is formed with [the semantic element] zhōu (舟) and [the phonetic element] yán (沿) abbreviated. Writing it now as 船 is a vulgar character; some write 舡, which is incorrect. The lower character has the fanqie 煩韈; a vulgar character. Bamboo or wood bound together to float on water. The Guangya writes it with zhōu (舟) as 𦪑; the Shuowen writes 橃, formed with [the semantic element] mù (木) and [the phonetic element] fā (發)).
1.42
Torrents and rivers ([涅-土+(出/大/((犀-尸)-牛+十))]河: the upper character has the fanqie 蒲冒. The Kaosheng says: "Sudden torrential rain." The Shuowen says: "Rushing rainwater; also, rain pouring down." The character is formed with shuǐ (水), yuē (曰), chū (出), gǒng (廾; pronounced gǒng), and tāo (丰; pronounced tāo)).
1.43
Fine hair and minute fraction (毫𣯛: the upper character has the fanqie 胡高; the lower character has the fanqie 力馳. The Jiuzhang suanshu says: "The beginning of all measures starts with a minute dust (hū); ten hū make a silk thread (sī); ten sī make a fine hair (háo); ten háo make a lí (𣯛)." The Shuowen says: "The two characters háo and lí are both formed with [the semantic element] máo (毛). The character háo is formed with háo (豪) abbreviated; the character lí is formed with lí (𣺶) abbreviated." In the sūtra text they are written as 豪𱤉, both characters being erroneous).
1.44
Disdain and belittle (輕懱: the lower character has the fanqie 眠鼈. The Shuowen says: "To make light of, to treat contemptuously. Formed with [the semantic element] xīn (心), in the altered form 忄, and [the phonetic element] miè (薎); the sound is as above." In the sūtra text it is written with 'bamboo' (竹) as 篾, which means bamboo bark, not the meaning intended in the sūtra. Some editions write it with 'hand' (手) as [打-丁+蔑], which is the name of a musical piece; we do not adopt it here).
1.45
Mahāyāna-naya-ṣaṭpāramitā-sūtra, Fascicle Two
1.46
Kācalindika (迦遮隣底迦: the upper and lower two characters both have the fanqie 薑佉; dǐ has the fanqie 丁以. The name of an auspicious bird of the Western regions. Its body has downy feathers that are exceedingly soft and light, woven into cloth only for the wheel-turning sage king (cakravartin) to wear. Now in that country there are still birds of this category seen, but their feathers are coarse and unlike those obtained in the time of a wheel-turning king).
1.47
Unblinking (不瞚: the lower character has the fanqie 水閏. The Shuowen says: "Shùn means the eyes repeatedly opening, closing, and fluttering. Formed with [the semantic element] mù (目) and also phonetic yín (寅)." Colloquially written as 瞬, in ancient script as 眒. In the present sūtra text it is written with 'eye' (目) and xún (旬) as 眴, which is also acceptable. The Lu Annals of the Spring and Autumn says: "Ten thousand generations are like a single blink of an eye (眴)").
1.48
Utpala (嗢鉢羅: the upper character has the fanqie 烏骨; correct Sanskrit. Formerly written yōubōluó or òubōluó. Here translated as 'blue lotus flower' (nīlotpala); it is the most fragrant and largest, completely non-existent among humans, emerging only from the Lake Anavatapta on the Great Snow Mountains).
1.49
Padma (鉢特磨: incorrect Sanskrit; also said as bōtóumó or bōnǔmó; correctly said as bōnàmó [padma]. Here translated as 'red lotus flower', referring to the supreme among flowers).
1.50
Kumuda (拘牟頭: also said as jūwùtóu or jūmóná, which are all phonological corruptions of Sanskrit; correctly said as jūmǒutuó. Here translated as 'reddish lotus flower'; also rare among humans, mostly emerging from that lake).
1.51
Puṇḍarīka (奔茶利: anciently said as fēntuólì, which are both corruptions; correctly said as bèn [falling tone] nǔ [fanqie 奴雅] lǐjiā [puṇḍarīka]. Here translated as 'white lotus flower'. Non-existent among humans, it also emerges from that lake).
1.52
Maṇḍala (曼茶羅: also said as mànzhàluó. Completely it should be said as móhèmànná [rising tone] luó [mahāmaṇḍala]. Here translated as 'great altar', namely the assembly place of all holy beings. According to the Vajraśekhara-sūtra, there are seventeen great maṇḍalas, each equipped with the four maṇḍalas, as explained extensively therein).
1.53
Luxuriant (蓊鬱: the upper character has the fanqie 屋孔; the lower character has the fanqie 溫律. The Shuowen says: "Dense vegetation. The character is formed with lín (林), fǒu (缶; fanqie 芳久), mì (冖; pronounced rén), qū (𠚍), bǐ (匕), and shān (彡) to make yù (鬱)." In the sūtra text it is written as 欝, which is a vulgar usage and incorrect. The Hanshu says in Sima Xiangru's work: "Wěngyù (蓊鬱) is the appearance of luxuriant trees and plants").
1.54
Ām yīm (菴愔: the upper character has the fanqie 烏甘; the lower character has the fanqie 於淫; characters in a mantra).
1.55
Xī xī (呬䤈: the upper character has the fanqie 馨以; the lower character has the fanqie 呼雞).
1.56
Nóu mī (㝹迷: the upper character has the fanqie 奴溝. Examining the character, it means a young hare).
1.57
Kū chā (𩑔叉: the upper character has the fanqie 苦骨. Examining the character, it means white baldness).
1.58
Nǐ xī (伱㕧: the lower character has the pronunciation of the fanqie 許兮; characters in a mantra).
1.59
Wò yì (沃屹: the upper character has the fanqie 烏酷; the lower character has the fanqie 魚訖. From ān-yīn down to wò-yì, these are all characters used in mantras solely for transcribing Sanskrit phonetics, without seeking semantic meaning in the Chinese characters).
1.60
Relieve and pity (賑恤: the upper character has the fanqie 真刃. The Erya says: "Zhèn means to enrich." The lower character has the fanqie 思律. Zheng [Xuan]'s commentary to the Zhouli says: "Relieving and pitying means showing concern for the poor." Gu Yewang says: "Zhèn means to rescue; xù means to pity." The Shuowen says: "Xù is formed with [the semantic element] xīn (心) and [the phonetic element] xuè (血)").
1.61
Heart and lungs (心胏: The Baihu tong says: "The heart corresponds to propriety (lǐ); it is the essence of southern fire, red, pointed, and possessing petals like an unbloomed lotus flower." Wang Shuhe's Maijing says: "The heart pairs with the small intestine and large intestine as its viscera; its stored spirit is the shén; its outward manifestation is speech. When the heart is diseased, voice is lost and one cannot speak." The lower character has the fanqie 芳廢. The Baihu tong says: "The lung corresponds to righteousness (yì); it is the essence of western metal, white in colour." Wang Shuhe's Maijing says: "The lung pairs with the bladder as its viscera; its stored spirit is the pò; its outward manifestation is the throat and nose. Hence, when the lung is diseased, the nose does not smell fragrance or stench." The Shuowen says: "Formed with [the semantic element] ròu (肉) and [the phonetic element] zǐ (𠂔); zǐ has the fanqie 肥味." In the sūtra text it is written with shì (市) as 肺, which is vulgar and incorrect).
1.62
Intestines and stomach (膓胃: the upper character has the fanqie 除良. The Shiming says: "The organ inside the abdomen that freely vents qi." The Shuowen says: "Formed with [the semantic element] ròu (肉) and [the phonetic element] cháng (場) abbreviated." The lower character is sometimes written as 𦝩, which is a vulgar character; the standard form is 胃. The Baihu tong says: "The receptacle of the spleen, black in colour." The Shuowen says: "The receptacle of grain. Formed with [the semantic element] ròu (肉); a pictographic character").
1.63
Liver and gallbladder (肝膽: the upper character is pronounced gān. The Baihu tong says: "The liver corresponds to benevolence (rén); it is the essence of eastern wood." Master Wang's Maijing says: "The liver pairs with the gallbladder as its receptacle; its stored spirit is the hún; its outward manifestation is the eyes. Hence, when the liver has heat, the eyes become red." The Shuowen says: "Formed with [the semantic element] yuè (月/肉) and [the phonetic element] gān (干)." The lower character has the fanqie 荅敢. The Baihu tong says: "The gallbladder is the receptacle of the liver and governs benevolence; therefore, the benevolent person has courage." Master Wang's Maijing says: "When the gallbladder is diseased, the spirit is not maintained." The Shuowen says: "Formed with [the semantic element] ròu (肉) and [the phonetic element] zhān (詹); zhān is pronounced zhān").
1.64
Spleen and kidneys (脾腎: the upper character has the fanqie 婢彌. The Baihu tong says: "The spleen corresponds to trust (xìn); it is the essence of central earth, yellow in colour." Master Wang's Maijing says: "The spleen pairs with the stomach as its receptacle; its outward manifestation is the tongue. Hence, when the spleen has heat, the tongue becomes diseased and the lips cannot close." The lower character has the fanqie 臣忍. The Baihu tong says: "The kidneys correspond to wisdom (zhì); they are the essence of northern water, black in colour, paired in shape." The Maijing says: "The kidneys pair with the triple burner as their receptacle; their outward manifestation is the ears. Hence, when the kidneys are deficient, the ears are deaf." The Shuowen says: "Formed with [the semantic element] ròu (肉) and [the phonetic element] qiān (臤); qiān has the fanqie 啟絃").
1.65
Mahāyāna-naya-ṣaṭpāramitā-sūtra, Fascicle Three
1.66
Piercing the ribs (穿脇: the second character has the fanqie 許業 [xié]. The Shuowen says: "The two sides of the belly are the ribs (脇)." It is formed from 肉 (flesh) with 劦 as the phonetic component. 劦 has the pronunciation yè; it is formed from three 力 (forces). In the sūtra text it is written with three 刀 (knives) as 刕, which is incorrect).
1.67
Pecking and devouring (啄噉: the first character has the pronunciation 卓 [zhuó]. The Guangya says: "To peck (啄) means to bite." The Shuowen says: "Birds feeding." It is formed from 口 (mouth) with 豕 as the phonetic component. 豕 has the fanqie 丑綠 [chù]. In the sūtra text it is written with 彖 as 喙, with the fanqie 吁穢 [huì], which means a bird's bill; that is not the meaning here. The second character has the fanqie 唐濫 [dàn]. Devouring (噉) also means eating; it is also written as 啖, which is the same).
1.68
Pincers and tongs (鉆鋷: the first character has the fanqie 儉嚴 [qiān]. The Shuowen says: "Iron tongs used to grip and take things." It is formed from 金 (metal) with 占 as the phonetic component. In the sūtra text it is written with 苷 as 鉗, which refers to a child's iron cangue; it does not have the meaning of gripping and taking. The second character has the fanqie 黏輙 [niè]. The Shuowen says that 鋷 is also a pincher (鉆) or grasper (攝). It is formed from 金 (metal) with 取 as the phonetic component. 取 has the same pronunciation as above. In the sūtra text it is written with three 耳 (ears) as 鑷, an iron fitting under a carriage; it is not the original character).
1.69
Dismembering and tearing apart (磔裂: the first character has the fanqie 陟革 [zhé]. Character dictionaries say: "To dismember (磔) means to tear open; it also means to stretch out." The Shuowen says: "To kill and splay the flesh (𦢸)." It has the fanqie 匹各 [pò], meaning to slice meat. The Rites of Zhou says: "Dismembering (磔) sacrificial victims to ward off calamity." Guo Pu's commentary on the Erya says: "In contemporary custom, dogs are dismembered in the middle of thoroughfares, said to halt the wind").
1.70
Burning and blazing (焚燎: the second character has the fanqie 聊弔 [liào]. Zheng's commentary on the Book of Rites says: "To illuminate." The Shuowen says: "To set on fire." It is formed from 火 (fire) and 尞; it is a phono-semantic character).
1.71
Squeezing each other (相拶: the second character has the fanqie 贊辣 [zā]. The Jixun says: "To squeeze (拶) means to press closely." The Kaosheng says: "To shove." The Shuowen says: "Formed from 手 (hand) with 𡿪 as the phonetic component." 𡿪 has the fanqie 才辣 [cá]. 辣 has the fanqie 闌怛 [là]).
1.72
Falling prostrate (偃仆: the first character has the falling tone, with the fanqie 於蹇 [yǎn]. The Guangya says: "偃 means looking upward." It is formed from 人 (person) with 匽 as the phonetic component. The second character has the fanqie 明北 [pū]; it is also written as 踣, which is the same. The Kaosheng says: "To tumble forward; to fall face downward." The Shuowen says: "To tip over and collapse." It also has the fanqie 芳遇 [fù]).
1.73
Digging and chopping (斸斫: the first character has the fanqie [冗-几+豕]綠 [zhú]. The Kaosheng says: "斸 means to dig; a mattock is a 斸." The Shuowen says: "斸 means to chop." It is formed from 斤 (axe) with 屬 as the phonetic component. In the sūtra text it is written as 斸, a popular form. The second character has the fanqie 章若 [zhuó], meaning to chop with a blade).
1.74
Bridles and reins (韁𱺍: the first character has the pronunciation 薑 [jiāng]. The second character has the pronunciation 祕 [bì]. Gu Yewang says: "The bridle and reins used to control and drive carriage horses." In the Shuowen it is a phono-semantic character. The character 𱺍 is formed from 絲 (silk) and 𨊥, which has the pronunciation 衛 [wèi]; it is an ideogrammatic compound. Some write it with 口 (mouth) and 亡 (perish), which is incorrect).
1.75
Whipping and flogging (鞭撻: the first character has the fanqie 必綿 [biān]. The Shuowen says: "A horse whip." It is formed from 革 (leather) with 便 as the phonetic component. The second character has the fanqie 他葛 [tà]. Zheng's commentary on the Rites of Zhou says: "To beat (抶)." 抶 is like striking and hitting. 抶 has the fanqie 恥栗 [chì]. The Shuowen says that 撻 is formed from 手 (hand) with 達 as the phonetic component).
1.76
Hair hanging down (髲下: the first character has the pronunciation 被 [bì], referring to hair hanging down. The Shuowen states that it is formed from 髟 with 皮 as the phonetic component. 髟 has the fanqie 必遙 [biāo]).
1.77
Wild geese and waterfowl (𠒎鴈: the first character has the pronunciation 輔于 [fú]. The Erya says: "A sluggish 𠒎 is a teal (鶩)." 鶩 has the pronunciation 木 [mù]. Guo Pu's commentary says: "A duck." The Kaosheng says: "A small wild duck." The character is formed from 鳥 (bird) with 几 as the phonetic component. 几 has the pronunciation 殊 [shū]; 几 refers to a bird's short feathers flying flappily (几几然); it is a phono-semantic character. The second character has the fanqie 顏諫 [yàn]. The Mao Commentary to the Book of Odes says: "The large ones are called wild geese (鴻); the small ones are called geese (鴈); they are birds that follow the warmth." The Yue ling says: "In the last month of autumn, wild geese arrive as guests." The Shuowen says that 鴈 means goose; it is also called 鴚, with the pronunciation 歌 [gē]).
1.78
Lizards (蜴蜥: the first character has the pronunciation 亦 [yì]. The second character has the fanqie 西歷 [xī]. The Erya says: "The 蜥蜴 is the gecko (蝘蜓), that is, the house gecko (守宮)." The Shuowen says: "On walls it is called 蝘蜒; in the grass it is called 蜥蜴." The Fangyan says: "In Qin and Jin it is called house gecko (守宮); in Southern Chu it is called snake doctor (虵醫), or salamander (蠑螈)." The Shuowen says: "The character 蜴 is sometimes written as 易. The character 蜥 is formed from 虫 with 析 as the phonetic component." In the sūtra text it is written with 斤 as 蚚, which has the pronunciation 祈 [qí] and is not the character for lizard (蜴蜥)).
1.79
Nits and lice (蟣蝨: the first character has the fanqie 居擬 [jǐ]. The Yunying says: "Louse eggs." The second character has the fanqie 所乙 [shī]. The Shuowen says: "An insect that bites humans." It is written as 蝨, formed from 卂 and 䖵. In the sūtra text it is written with 卂 as 虱, a popular usage that is incorrect. 卂 has the pronunciation 信 [xìn]; 䖵 has the pronunciation 昆 [kūn]).
1.80
Fleas and the like (𧎮等: the fanqie is 臧老 [zǎo]. The Shuowen says: "A biting, jumping insect offspring." It is formed from 䖵 and 叉, which also acts as the phonetic component. In the sūtra text it is written as 蚤, which is a popular character. 叉 has the pronunciation 爪 [zhǎo]).
1.81
Caterpillars (螟蛉: the first character has the fanqie 覓瓶 [míng]. The second character has the fanqie 歷丁 [líng]. The Erya says: "The 螟蛉 is the mulberry insect." The Mao Commentary on Insects and Fish says: "A small green insect of the mulberry, resembling an inchworm; today it is the one adopted by the mud dauber wasp (蜾𧕳) as its larva." The mud dauber is a wasp, also called potter wasp (蠮螉). Xu Shen says: "The thread-waisted wasp." Guo Pu says: "Colloquially the 螟蛉 is called the mulberry worm (桑蟃)." 蜾 has the pronunciation 果 [guǒ]; 𧕳 has the fanqie 魯果 [luǒ]; 蠮 has the fanqie 煙繼 [yān]; 螉 has the fanqie 烏公 [wēng]; 蟃 has the pronunciation 萬 [wàn]).
1.82
Root-eating and leaf-eating locusts (蟊螣: the first character has the fanqie 莫侯 [móu]. The second character has the fanqie 騰德 [tè]. They are all kinds of locusts. The Mao Commentary to the Book of Odes says: "Those that eat roots are 蟊; those that eat leaves are 螣." It is also written as 𧈩. The Erya writes it as 𧎢. The Shuowen says: "When officials extort and beg, then 𧈩 are born." Both characters are phono-semantic).
1.83
Grasshoppers (蛗螽: the first character has the pronunciation 負 [fù]. The second character has the pronunciation 終 [zhōng]. The Shuowen writes it as 𧑸, with the same pronunciations as above. Xu Shen says: "The 負螽 is a kind of locust; it lives among the grass and does not eat grain seedlings." The Book of Odes says: "Leaping are the grasshoppers (蛗螽)." The Erya writes it as 蛗螽. Both are phono-semantic characters. Leaping (趯) has the fanqie 他曆 [tì]).
1.84
Butterflies (蛺蝶: the first character has the fanqie 兼葉 [jiá]. The second character has the fanqie 恬頰 [dié]. The Shuowen says: "Name of an insect; also called butterfly (胡蝶); that which Zhuang Zhou dreamed of." Both characters are formed from 虫 (insect; 虫 has the fanqie 許鬼 [huǐ]) with 夾 and 枼 as phonetic components. 夾 has the fanqie 古洽 [jiá]; 枼 has the pronunciation 葉 [yè]).
1.85
Dung beetles (蜣蜋: the first character has the fanqie 佉良 [qiāng]. The second character has the pronunciation 良 [láng]. The Erya says: "The 蛣蜣 is the dung beetle (蜣蜋)." Guo Pu's commentary says: "A black-armoured beetle that eats dung and earth." 蛣 has the pronunciation 詰 [jié]).
1.86
Flies and horseflies (蠅虻: the first character has the fanqie 孕蒸 [yíng]. The second character has the fanqie 麥彭 [méng]. Zheng's commentary on the Book of Odes says: "As an insect, the fly stains white into black." The Fangyan says: "Between Qin, Jin, Chen, and Chu it is called 蠅; in Eastern Qi it is called 羊 (sheep), which is a phonetic corruption." Guo Pu says: "In Jiangdong, calling a fly 羊 is because its sound resembles it").
1.87
Camels (𩧐駝: the first character is also written as 馲, with the fanqie 湯落 [tuò], and also the fanqie 郎各 [luò]. The second is also written as 駞, with the fanqie 唐何 [tuó]. The Kaosheng says: "A beast of the barbarian lands." The Shanhai jing says: "It has flesh saddles on its back, the strength to bear a thousand jin, travels three hundred li a day, and can detect where water springs are." In the Shuowen, both characters are phono-semantic. In the sūtra text the first is written as 駱, with the pronunciation 洛 [luò]; the Erya says that a white horse with a black mane is called 駱, which is not the character for camel (馲駝)).
1.88
Emaciated and frail (尫羸: the first character has the fanqie 烏光 [wāng]. The Kaosheng says: "Broken." Du's commentary on the Zuo zhuan says: "Emaciated and sick." The Shuowen says: "Crooked shins; formed from 犬 (dog), depicting a bent single leg, with 王 as the phonetic component." In the sūtra text it is written with 兀 as 尫, which is an error. The second character has the fanqie 力追 [léi]. Jia's commentary on the Guoyu says: "羸 means sick." Du Yu's commentary on the Zuo zhuan says: "Weak." The Shuowen says: "羸 means lean." It is formed from 羊 (sheep) and 𣎆, which has the fanqie 力戈 [luó]).
1.89
Flaying and peeling (㓟剝: the first character has the pronunciation 皮 [pí]. The second character has the fanqie 邦角 [bō]. Character dictionaries say: "Peeling (剝) means falling away; it means harming." The first character, 㓟, has traditionally been pronounced pí, but looking through character dictionaries, there is no such character. I have not ascertained it, but suspect it should properly be 㱟, with the fanqie 疋靡 [pǐ], meaning to harm or strike and break).
1.90
Chapped and split (皴劈: the first character has the fanqie 匕遵 [cūn]. The Pi Cang says: "Rough skin (𭽫皵)." 皵 has the fanqie 匕略 [què]. The Kaosheng says: "Cracked from cold." The Shuowen says that it is formed from 皮 (skin) with 夋 as the phonetic component; it is a phono-semantic character. 夋 has the fanqie 匕旬 [qūn]. The second character, 劈, has the fanqie 匹亦 [pī]. The Guangya says: "To split (劈) means to tear." The Shuowen says: "To split (劈) means to break apart." It is formed from 刀 (knife) with 辟 as the phonetic component. The ancient script writes it as 𤖼, formed from 片 and 𠂢, depicting separation and scattering).
1.91
Begging (乞匃: the second character has the fanqie 垓礙 [gài]. The Shuowen says: "When a person loses wealth and goods, they go begging (乞匃)." 匃 also means to seek. The character is formed from 人 (person) and 亾 (perish/lose); it is not formed from 包).
1.92
Weary and fatigued (勞倦: the second character has the fanqie 渠卷 [juàn], meaning exhausted or remiss. The Book of Documents says: "Weary (猒倦)." The Shuowen says: "Formed from 人 (person) with 卷 as the phonetic component." It is also written as 勌, which is also acceptable. In the sūtra text it is written as 倦; there is no such character).
1.93
Tips of the bow (弓弰: the second character has the fanqie 所交 [shāo]. The Pi Cang says: "The ends of the two tips of a bow." The Kaosheng says: "弰 refers to the two ends of a bow." It is formed from 弓 (bow) with 肖 as the phonetic component).
1.94
Orphaned and desolate (孤惸: the first character has the fanqie 古胡 [gū]. The Kaosheng says: "Solitary." The Shuowen says: "One without a father is called an orphan (孤)." It is formed from 子 (child; pronounced 結 [jié]) with an abbreviated 觚 as the phonetic component. The second character has the fanqie 葵營 [qióng]. The Kaosheng says: "Solitary and alone." The Wenzi dianshuo says: "One without brothers is called 惸." The Shuowen writes it as 煢, formed from 卂 with an abbreviated 營 as phonetic. It is also written with 人 as 煢, or as [勞-力+儿]; all are used interchangeably).
1.95
Widowers and widows (鰥寡: the first character has the fanqie 寡頑 [guān]. The Book of Rites says: "An old man without a wife is called a widower (鰥)." The Book of Documents says: "There is an unmarried man in low station (有鰥在下)," referring to Shun being past marriageable age and having no wife. The second character, 寡, has the fanqie 關瓦 [guǎ]. The Kaosheng says: "Solitary; referring to a woman without a husband." The character 寡 is formed below with 分; in the sūtra text it is written below with 灬, with the fanqie 必遙 [biāo], as 寡, which is a scribal error).
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