遙 distant, remote, far away 迕,月,⺼,凵,辶,䍃,

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MingLiU:

Mincho:

Gothic:

遙

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On-yomi [ Toggle rōmaji ]

⺕ウ
YO　U

Kun-yomi

はる(か
ha　ru　ka

Glyph elements [ Toggle Font ]

迕

ゴ,であ obstinate, perverse

　INTERSECTING MOTIONS SCREWING and PROSTRATE
…or: STEPS, FOOT MOTION and HORSE, DILDO
…or: COVER ENTRY of SLIDING HEAD
　

月

ゲツ,ガツ,つき proceptivity; month; the Moon, lunar positions, lunar phases; mooning position, meat, meat phases

　ERECT in HIGH TENSION with TWO ORIFICES over-under inside SPREAD LEGS
…or: ERECTION DRIPPING in NO-LONGER-INTEGRATED FOOT, TENSE GASPS
…or: A REASON FOR TONGUING MOUTH within SPREAD LEGS
…or: ROD within ORIFICE within SPREAD LEGS
　

⺼

× HTML entity: ⺼ body meat or flesh; meat of disintegrated feet; chicks and bunnies

　ERECTION and CLEVER with DROPS
…or: STIFF with CONGEALING and WRAPPED NO-LONGER-INTEGRATED BONES
…or: QUICK MOVEMENTS with FLEDGLING WING
　

凵

カン,× cavity, open container, receptacle, bin

　THREE-SIDED and OPEN
　

辶

チャク,しんにょう HTML entity: 辶 foot motions, motion of feet, something in motion, taking steps

　DRIPPING, DRIP BY DRIP, ONE DROP AFTER ANOTHER, COOLING PROCESS, CONGEALING, CHANGE BETWEEN TWO PHYSICAL STATES, CEASE MOTION with TAUT NO-LONGER-INTEGRATED FOOT OF CHINESE FEMALE
…or: DOUBLED EMPHASIZED with TENSION, STRESS WITH SPRING-LIKE ACTION, FOOT and STRETCHED TAUT, THE OTHER SIDE TOO
　

䍃

× attractive vessel, vase, fluids at the base of beautiful cut flowers for display, meat container, fleshpot

　FLESH VESSEL
…or: MEAT and PACKING IN CAVITY
…or: COLD CONGEALED DRIPPING WRAPPED and PACKED
…or: MEAT HEAD THRUSTING within CAVITY
…or: REPEATEDLY STUFF FLYING OUT, DAZZLING with THRUSTING PESTLE HEAD, HORSING AROUND in CAVITY
　

Meanings of elements

OBSTINATE, PERVERSE and BODY MEAT FLESH, CHICKS AND BUNNIES with CAVITY
…or: MOTIONS with ATTRACTIVE VESSEL, FLESHPOT, MEAT CONTAINER
…or: MOTIONS THRUSTING PESTLE HEAD in MEAT CAVITY

「Obstinate, perverse and body meat flesh, chicks and bunnies with cavity, emphasis on tense taut motions, two no-longer-integrated feet thrusting pestle head in meat cavity」may refer to the lord being FAR AWAY at the moment, allowing the harem concubines to relax freely.
「Motions」with「attractive fleshpot」may mean being willing to travel to a REMOTE, FAR AWAY place. Right element of「attractive fleshpot, vase」or, as some have suggested, a「hot piece of meat.」「Motion」of「waving, back and forth」meaning to wave your arm at someone who is REMOTE, FAR AWAY from you, or LONG AGO as in a「remote memory」WAVING. Crockery pots used for canning can be fairly hot, so a hand holding a hot chunk of meat or reaching down to open the lid might get burned either way.
「Movements with two no-longer-integrated feet and meat thrusting into cavity」as REMOTE ACCESS, not core access in one or both of the crotch orifices. The emperor's harem concubines as the most attractive and beautiful fleshpots for hot meat packing in all the land were inaccessible and untouchable, only able to be viewed from a distance, a far sight to see.

External source definitions …excluding politically incorrect concepts and other meanings deemed offensive today; may include extended definitions, euphemisms, and mnemonics)
Chinese: distant; remote; far; far away
Japanese EDRDG: far off, distant, long ago
Unihan extended: far away, distant, remote

Always keep in mind that these glyphs most likely were originally designed by groups of clever old men as vulgar riddles for their own entertainment (see 籒 for that), representing Chinese society many thousands of years ago, but intended NOT as a written or spoken language when created. 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, and often with multiple correct answers to each riddle, the same as is true today. Sex had no shame in ancient China. Why would it? But, have there been necessary rewrites and altered explanations of the original elemental meanings over the centuries?

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 seemingly bad our human existence is today, do you actually believe that the so-called good old days were any better? Or could they 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 lexicon. This site explains multiple meanings of glyphs ignored or censored by other sources, generally as being too embarrassing to admit today.