櫂 oar, sculling motions, to paddle, to row 椎,羽,栩,隹,木,翟,

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MingLiU:

Mincho:

Gothic:

櫂

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On-yomi [ Toggle rōmaji ]

トウ　･　タク
TO　U　･　TA　KU

Kun-yomi

かい　･　かじ
ka　i　･　ka　ji

Glyph elements [ Toggle Font ]

椎

ツイ,スイ,つち,う shii tree, beech; mallet; vertebrae, spine

　WOOD, TREE with MATING DISPLAY
…or: WOODY with PERSON PALMING PRICK
　

羽

ウ,は,わ,はね counter for birds, chicks, bunnies and coneys; plumes of stuff, concubine service provider in training; wings, feathers, two disintegrated feet with inner drippings

　COOLING PROCESS, CONGEAL STIFFEN, CHANGE BETWEEN TWO PHYSICAL STATES, DRIP BY DRIP, ONE DROP AFTER ANOTHER, FREEZE UP, CEASE MOTION with EXTREME TENSION, STRESS WITH PAIN AND GASPS, ROLLED TAUT AND TIGHT WITH SPRING-LIKE ACTION, NO-LONGER-INTEGRATED AND BOUND FOOT OF CHINESE FEMALE
…or: PRACTICE (doubled)
…or: WING (doubled)
…or: PLUMES (doubled)
…or: emphasis inside CLEVERNESS (doubled)
　

栩

ク,くぬぎ species of hardwood oak; be glad, be pleased

　TREE, WOODY STALK, STEM and NEW CONCUBINE IN TRAINING, CHICKS and BUNNIES
　

隹

サイ,スイ,とり primate mating stance, male human or bird in courting stance, flaunting one's best point, narcissism, loving oneself in full plumage display or while displaying a plume, public display of affection for one's own bird or pecker

　PERSON PALMING ROD PRICK
…or: CORE EMPHASIS on FLESH SEAM SKILL
…or: HEAD SLIDING on UPRIGHT ROD with PALMING CONTROL of PRICK
…or: EMPHASIS on KERNEL OF HUMAN NATURE and TALENTED HANDS USED TO ACCOMPLISH A TASK
　

木

ボク,モク,き,こ～ wood, woody stalk, stem, wooden, a woody, tree, implanted, simple, simpleton, coffin, encased death, unfeeling, numb

　TWISTING a TAUT HEAD
…or: SCREWING EMISSIONS
…or: HAND on TAUT ROD
　

翟

ケキ,ジャク,タク,タイ,きじ beautiful young bird, long plumes in the sky, pheasant

　WINGS IN TRAINING of BIRD with PLUMAGE
…or: PRACTICING COURTSHIP DISPLAY
…or: NO-LONGER-INTEGRATED-FEET SET with MALE IN MATING STANCE PALMING PRICK
…or: GELATINOUS MASS OF SLIME, GRATING TUBERS and CONGEALED inside two NO-LONGER-INTEGRATED FEET
　

Meanings of elements

MALLET-LIKE POUNDING with SET OF NO-LONGER-INTEGRATED FEET
…or: TO PLEASE HARDWOOD in MATING STANCE, PERSON PALMING PRICK
…or: WOOD STALK and NO-LONGER-INTEGRATED FEET in MATING STANCE
…or: a WOODY GUSHING PLUMES

Motion and appearance of using a SCULLING PADDLE, OAR with repeated back-and-forth actions whilst standing in the stern of a boat were similar to the appearance of motions using no-longer-integrated feet and legs as a woody prick massage…note that in Asia, boats are generally rowed with a single oar protruding from the stern, by SCULLING motions.
　Interestingly, some Japanese versions of this glyph use multiple「grasping and reaming」(⺕) elements or「gushing chunks」(勿, without the 'head' attached) rather than the two congealing no-longer-integrated feet elements used in traditional Chinese glyphs, yet both sets of elements could describe a「plume」only that in the Japanese case the referent may be to release of a long, arching discharge of fluids under pressure by a medical services provider rather than to no-longer-integrated feet that were not commonly found in Japan. Needless to point out perhaps is that the Chinese uses of two no-longer-integrated feet (羽) also were designed to cause the same sort of release of fluids under pressure in long, arching spurts and gushing chunks.
　Perhaps the inspiration for the tune「Row, Row, Row Your Boat」(read those lyrics again), and the English expression「to row your own boat」(read those elements again).

Modern definitions (that generally disregard history) …excluding politically incorrect concepts and other meanings deemed offensive today; may list only pigeonholed definitions, euphemisms, or meaningless mnemonics)
Chinese: oar (archaic); scull; paddle; to row; a boat
Japanese: paddle, oar, scull
Unihan extended: oar, scull, paddle; row
EDRDG: oar; scull; paddle

Always keep in mind that these glyphs were originally created by groups of clever old men as vulgar riddles and analogies for their own entertainment (see 籒 for that) and represented Chinese society many thousands of years ago, and not as a written or spoken language. If these glyphs had been intended for language use, the sages could not have possibly designed a worse system. Is it truly possible that all these glyphs started out as off-color jokes and puzzles? Yes! It is! Sex had no shame in ancient China. Why would it? And now, there is a cover-up. No one is suggesting these glyphs depict contemporary life in China, Japan, or anywhere else. This site describes glyph meanings, not people. These glyphs however, describe many and various things, including people, long before there were any notions of becoming politically incorrect. The question to be answered is, should these glyphs continue being used, by anyone, anywhere, for expressing language? (More...) Despite how bad the human world is today, do you actually believe that the so-called good old days were any better? Or they could only have been worse?

By the way, with a limited number of the same elements used by the sages again and again to form these glyphs, you should expect to find the same explanations again and again, as tedious as that may become, and as an inherent trait of any dictionary. This site explains the dual meanings of glyphs most often ignored by other sources that provide you with only the sanctioned definition, generally.