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Yaron Zilberman / Yaron Zilberman / Actor: Anat Ravnitzki / Scores: 245 Vote / genre: Thriller / Story: Details the year leading to the assassination of Israel's Prime Minister, Yitzhak Rabin (1922-1995), from the point of view of the assassin. SHAME ON YOU! I used to respect Time as a good source for news. Not today, Time is in lock step with the Left and FAKE NEWS You clip and edit to satisfy the Leftist Agenda of The Dems. SHAME ON YOU. #mossaddid911. Haha. Great work Brenda. Can't wait for the release.

GOD bless Israel. Bass vocals and guitar are mine now ill need a drummer cause i cant do it all at once. 5:59 เป็นคำพูดที่คมที่โครตเท่ห์😂. Best job Asad bhai. Does any 1 doubt that the god that enjoys hatred & blesses genocide is the devil himself? Is that not obvious this is the god who supposedly gave israel the right of return- the right 2 steal & ethnically cleanse land already occupied since time began?  Genocide was the plan of the israeli's right from the start of that country & the smallest amount of research will prove this fact as u go back 2 how israel began its occupation of Palestine.

You out there watching: don't start acting up 🧐. The Israeli Sadat. Depressing to watch. I dont know even what this movie is about but Im intrigued. This was a very good explanation of a rather confusing and often unclear topic. Well done. David goldstein I guess you ignored the fact when the woman said that crime among the refugees was 2.4 percent and crime among the Israelis is 5 percent.  The immigrants basically took all the work from the Jews and their mad that they can't clean dishes and wipe down floors anymore.  They must have large income disparity like America. Dats right. Mogityant cekva. This is how trailers should be made. Def want to see this, i like the tone of it and her character. give it a go for sure. I've loved noah baumbach's films. They're all so real, comparable,and dialogue driven. I cant wait to see this next one.

I wonder if Incite somehow has the host minds. Dolores is seen beaming the data to the satellites, which I'm assuming relayed that data to somewhere. The sphere at 0:27 resembles the encryption orb thingies that Chalores has at the end of ep. 10. I don't have all the details worked out and maybe it's obvious and someone already commented on it, but I think this Incite company is somehow in possession of the Sublime.

@haitipi which nation is the nation founded in atheism that u're talking about? pls enlighten me... Haha #trumptrain. Like the Kennedy assassinations, the Rabin assassination is surrounded by a lot of unanswered questions. But this dramatization adheres closely to the accepted theory of Yigal Amir as lone killer. The English-language title, Incitement" unlike the Hebrew title) hints at the tirelessly repeated accusations that the political right in general, and Bibi Netanyahu in particular, stirred up the deadly animus against Rabin. However, the movie makes a point of accurately showing a couple of incidents that the accusations commonly distort. It shows that a particularly nasty poster of Rabin (dressing him in an SS uniform) was distributed by agent provocateur Avishai Raviv and wasn't really a poster at all but a handbill; and it shows that a coffin carried in an anti-Oslo demonstration was not a symbol threatening Rabin with death but a symbol lamenting the supposed death of Zionism. Where the depiction does go overboard, I'd say, is in emphasizing the tacit support by the religious establishment for an attack on Rabin. Bar-Ilan University, which has a Jewish religious atmosphere but also has secular Jewish students and even Arab students, is portrayed as entirely religious and plastered with anti-Rabin posters on every wall. Rabbis are shown one after another stopping short of disapproval with respect to Amir's intention to kill Rabin.
Despite not spending important time bashing Bibi, the movie does bother at the end to grumble that when he took office, his inaugural speech didn't mention Rabin.
But how is the movie as a movie? you ask. Apart from stating its point of view on the murder (and being released in Israel half a week before an election) it doesn't seem to have much of a message. As an exercise in recreating episodes that are only 25 years old and well remembered from the news, it works well. It blends recreations with authentic footage elegantly. The filmmakers did not employ well-known actors who would have made disbelief difficult to suspend, but the actors handle their parts well. The music is spare and appropriately ominous. But if the movie breaks forth from its narrow focus to imply any larger statement about the human condition, I missed it.

Daily Caller, you kind of missed the whole Democrat Socialist Bernie Sanders campaign worker who shot up unarmed Congressional Republicans at baseball practice. Don't you think that example of inciting violence was a big one? We could have had 15 or more Congressional Republicans mass murdered that day, had not Scalise's security team not been there. The Democrat Socialist had a hit list of practically all the members of the Freedom Caucus. I think even the NYT was broadcasting a wink wink nod nod beforehand. Got the book in my hand. Criminal law Elements Actus reus Mens rea Causation Concurrence Scope of criminal liability Complicity Corporate Vicarious Severity of offense Felony Infraction (also called violation) Misdemeanor Inchoate offenses Attempt Conspiracy Incitement Solicitation Offence against the person Assassination Assault Battery Child abuse Criminal negligence Defamation False imprisonment Harassment Home invasion Homicide Intimidation Kidnapping Malicious castration Manslaughter  ( corporate) Mayhem Murder corporate Negligent homicide Invasion of privacy Robbery Torture Sexual offences Adultery Bigamy Fornication Incest Indecent exposure Masturbation Obscenity Prostitution Rape Sexual assault Sodomy Crimes against property Arson Blackmail Bribery Burglary Embezzlement Extortion False pretenses Forgery Fraud Gambling Intellectual property violation Larceny Payola Pickpocketing Possessing stolen property Smuggling Tax evasion Theft Crimes against justice Compounding Malfeasance in office Miscarriage of justice Misprision Obstruction Perjury Perverting the course of justice Crimes against the public Apostasy Begging Censorship violation Dueling Miscegenation Illegal consumption (such as prohibition of drugs, alcohol, and smoking) Terrorism Crimes against animals Cruelty to animals Wildlife smuggling Bestiality Crimes against the state Lèse-majesté Treason Defences to liability Automatism Consent Defence of property Diminished responsibility Duress Entrapment Ignorantia juris non excusat Infancy Insanity Justification Mistake  ( of law) Necessity Provocation Self-defence Other common-law areas Contracts Evidence Property Torts Wills, trusts and estates Portals Law v t e In criminal law, incitement is the encouragement of another person to commit a crime. Depending on the jurisdiction, some or all types of incitement may be illegal. Where illegal, it is known as an inchoate offense, where harm is intended but may or may not have actually occurred. International law [ edit] The Article 20 of the International Covenant on Civil and Political Rights requires that any advocacy of national, racial or religious hatred that constitutes incitement to discrimination, hostility or violence shall be prohibited by law. [1] That few journalists have been prosecuted for incitement to genocide and war crimes despite their recruitment by governments as propagandists is explained by the relatively privileged social status of journalists and privileged institutional position of news organizations in liberal societies, which assign a high value to a free press. [2] England and Wales [ edit] Incitement was an offence under the common law of England and Wales. It was an inchoate offence. [3] It consisted of persuading, encouraging, instigating, pressuring, or threatening so as to cause another to commit a crime. It was abolished in England and Wales on 1 October 2008 [4] when Part 2 of the Serious Crime Act 2007 came into force, replacing it with three new statutory offences of encouraging or assisting crime. [5] The common law is now only relevant to offences committed before that date. [6] Relationship with other offences [ edit] The rationale of incitement matches the general justification underpinning the other inchoate offences of conspiracy and attempt by allowing the police to intervene before a criminal act is completed and the harm or injury is actually caused. There is considerable overlap, particularly where two or more individuals are involved in criminal activity. The plan to commit crime may exist only in the mind of one person until others are incited to join in, at which point the social danger becomes more real. The offence overlaps the offences of counselling or procuring as an accessory. Indeed, in the early case of R v Higgins [7] incitement was defined as being committed when one person counsels, procures or commands another to commit a crime, whether or not that person commits the crime. The words, "counsel" and "procure" were later adopted in section 8 of the Accessories and Abettors Act 1861 as two of the four forms of accessory. In AG’s Reference (No. 1 of 1975), [8] Widgery CJ said: To procure means to produce by endeavour. You procure a thing by setting out to see that it happens and taking the appropriate steps to produce that happening. We think that there are plenty of instances in which a person may be said to procure the commission of a crime by another even though there is no sort of conspiracy between the two, even though there is no attempt at agreement or discussion as to the form which the offence should take. But secondary liability is derivative and dependent on the commission of the substantive offence by the principal offender. This is too late to avert the harm. Thus, the offence of incitement has been preserved to allow the police to intervene at an earlier time and so avert the threatened harm. The mens rea [ edit] The inciter must intend the others to engage in the behaviour constituting the offence, including any consequences which may result, and must know or believe (or possibly suspect) that those others will have the relevant mens rea. In R v Curr, [9] the defendant allegedly incited women to commit offences under the Family Allowances Act 1945 but, because the prosecution did not prove that the women had the mens rea to constitute the offence, the conviction was quashed. Fenton Atkinson J explained that: In our view, the argument for the prosecution here gives no effect to the word "knowing" in [the relevant statutory provision], and in our view could only be guilty.. if the woman solicited that, that is, the woman agent sent to collect the allowance, knew that the action she was asked to carry out amounted to an offence. In R v Whitehouse, [10] a father was charged with inciting his fifteen-year-old daughter to have sexual intercourse with him. At this age, she would have been excused from liability for committing the offence of incest with her father. The conviction was quashed on appeal and Scarman LJ explained that:... we have therefore come to the conclusion, with regret, that the indictment does not disclose an offence known to the law because it cannot be a crime on the part of this girl aged 15 to have sexual intercourse with her father, though it is of course a crime and a very serious crime, on the part of the father. There is here incitement to a course of conduct, but that course of conduct cannot be treated as a crime by the girl. He continued: It is regrettable indeed that a man who importunes his daughter under the age of 16 to have sexual intercourse with him but does not go beyond incitement cannot be guilty of a crime. The Court of Appeal in R v Claydon (2005) EWCA Crim 2817 has repeated this criticism. Claydon had sexually abused the thirteen-year-old son of his partner in the 1980s, and was tried twenty years later on an indictment containing counts of sexual offences, including two counts of incitement to commit buggery. At that time, there was an irrebuttable presumption that a boy under the age of fourteen years was incapable of sexual intercourse (applying R v Waite (1892) 2 QBD 600-601 and R v Williams [1893] 1 QB 320-321). It was argued by the Crown that, although the boy could not in law have committed the act incited, it was nevertheless quite possible for the defendant to incite him. Having considered R v Whitehouse and R v Pickford, [11] the Court of Appeal felt obliged to reject that argument. As Laws J said in Pickford, "it is a necessary element of the element of incitement that the person incited must be capable [by which he meant capable as a matter of law] of committing the primary crime. " [12] The Court agreed because the focus of the offence of inciting is solely on the acts and intention of the inciter while the intention of the person incited are not relevant when considering whether the offence of incitement has been committed. It further endorsed the views of Smith and Hogan (10th Edition at p 295) who criticised the decision in Curr on the basis that ".. real question should not have been not whether the women actually had the knowledge, but whether D believed they had. " Furthermore, Smith (1994) said that "the court has confused the mens rea of incitement with the mens rea of the offence incited". The actus reus [ edit] The inciter is one who reaches out and seeks to influence the mind of another to commit a crime, although where, for example, a letter conveying the incitement is intercepted, there is only an attempt to incite (see R v Banks (1873) 12 Cox CC 393). So merely making suggestions is not enough. There must be actual communication so that the other person has the opportunity to agree, but the actus reus is complete whether or not the incitement actually persuades another to commit an offence. In R v Goldman [2001] Crim LR 822 the defendant wrote to a Dutch firm (ESV) which had advertised pornography for sale, requesting pornographic material. He was convicted of an attempt to incite another (ESV) to distribute indecent photographs because the offer to buy amounted to an inducement to ESV to commit a crime. In R v Fitzmaurice, [13] it was held that the necessary element of persuasion was satisfied by a "suggestion, proposal or request [that] was accompanied by an implied promise of reward". In Race Relations Board v Applin, [14] Lord Denning stated that a person may incite another to do an act by threatening or by pressure, as well as by persuasion. The incitement can take any form (words or deeds). It may be addressed to a particular person or group or to the public at large. In R v Marlow [1997] Crim LR 897 the defendant wrote and published a book on the cultivation of cannabis, which he advertised, selling about 500 copies. It was alleged that the book was not a bona fide textbook, but was an incitement to those who bought it to cultivate cannabis. The defence claimed the book as a genuine contribution to the debate on the legalisation of cannabis and said that it only contained general advice which was freely available elsewhere. The judge directed the jury that they had to be sure that the book could "encourage or persuade or is capable of encouraging or persuading other people to produce the drug". The Court of Appeal held that there was no misdirection and the conviction was not unsafe. Thus, the incitement may be implied as well as express and may be directed to persons generally. The test is whether there is a lawful use for the device. For example, a recording or transcribing device may be used lawfully without breaching copyright, but a device to detect radar signals so as to avoid speed camera/red light infringement systems would have no other purpose than assisting drivers to evade detection. But note that the act incited must be a crime by the person incited so any alleged breach of copyright would have to be criminal, and the defendant would have to know all the material facts that would make the incited person's behaviour criminal, but not that the behaviour was a crime (see the public policy ignorantia juris non excusat which prevents ignorance of the law from being an excuse). In R v Whitehouse [15] an uncle did not incite his 15-year-old niece to incest because, if the incitement had succeeded and she had submitted to intercourse, she would not have committed an offence. This applied R v Tyrell [16] which stated that where a statutory offence is designed to protect a particular class of individuals against themselves, they cannot, as the victims, commit such offences against themselves. In Tyrell, the girl was not guilty of inciting the man to have under-age sex with her, since the girl could not herself be guilty of the full offence. Impossibility [ edit] If X incites Y to kill Z but, unknown to both of them at the time, Z had already died, it would be impossible to kill Z and so no crime of incitement would have been committed. Apart from simple situations such as this, the current law is difficult. R v Fitzmaurice allows the impossibility defence, but its scope is quite limited. X planned to collect a reward from a security firm by informing the police of the existence of a conspiracy to rob a security van. He recruited the defendant who thought he was engaging men for this robbery. Subsequently, the conspirators were arrested by the police. The Court of Appeal held that the test was to decide what sort of conduct was incited, attempted or the subject of a conspiracy. If the evidence shows incitement in general terms, e. g. to rob a security van, this is always possible, whereas if the subsequent agreement relates to a specific but fictitious crime, there might be an acquittal. In DPP v Armstrong [2000] Crim LR 379, 1999 EWHC 270 (QB) it was held that impossibility of the commission of the offence incited was irrelevant to guilt. Statutory incitement [ edit] There are, in England and Wales, a number of statutory offences of incitement, e. incitement to racial hatred under the Public Order Act 1986. Soliciting to murder The offense of soliciting to murder is created by section 4 of the Offences against the Person Act 1861. Inciting to commit perjury This offense is created by section 7(2) of the Perjury Act 1911. Inciting another to commit an offense against the Official Secrets Acts 1911 and 1920 This offense is created by section 7 of the Official Secrets Act 1920. Inciting a child under 14 to gross indecency The Indecency with Children Act 1960 provided that it was an offense, amongst other things, to incite a child under the age of fourteen to an act of gross indecency with the inciter or another. Inciting a girl under 16 to commit incest This offense was created by section 54 of the Criminal Law Act 1977. New Zealand [ edit] In New Zealand, every one who incites any person to commit an offence is a party to and guilty of the offence and liable for the same penalty as a person who commits the offence. [17] When a person incites another to commit an offence that is not in fact committed the person is liable for the same penalty as a person who attempts to commit an offence that is not in fact committed. The penalty for inciting the commission of an offence that is not in fact committed is 10 years imprisonment if the maximum penalty for the offence is imprisonment for life and in other cases up to half the maximum penalty of the primary offence. [18] United States [ edit] The First Amendment to the United States Constitution guarantees free speech, and the degree to which incitement is protected speech is determined by the imminent lawless action test introduced by the 1969 Supreme Court decision in the case Brandenburg v. Ohio. The court ruled that incitement of events in the indefinite future was protected, but encouragement of "imminent" illegal acts was not protected. This "view reflects longstanding law and is shared by the Federalist Society, the ACLU, the Foundation for Individual Rights in Education, and the vast majority of Americans, including most staunch free-speech advocates. " [19] Incitement to riot is illegal under U. S. federal law. [20] See also [ edit] Look up incitement in Wiktionary, the free dictionary. Fighting words Incitement to ethnic or racial hatred True threat References [ edit] Baker, Dennis. (2012). Glanville Williams: Textbook of Criminal Law. London: Sweet & Maxwell. ISBN   0414046137 Smith, J. C. (1994) "Commentary to R v Shaw". Criminal Law Review 365 Wilson, Richard A. (2017) Incitement on Trial: Prosecuting International Speech Crimes. Cambridge: Cambridge University Press. ^ International Covenant on Civil and Political Rights, Article 20, 2 ^ Hickman, John. "Why have few journalists been prosecuted for incitement to war crimes? " European Journal of Communication July 28, 2018. ^ Jefferson, Michael. Criminal Law. Eighth Edition. Pearson Education. 2007. Page 388 ^ "The Serious Crime Act 2007 (Commencement No. 3) Order 2008".. ^ Serious Crime Act 2007 Part 2 ^ ibid. Sch. 13 ^ R v Higgins (1801) 2 East 5, (1801) 102 ER 269 ^ Attorney General's Reference (No 1 of 1975) [1975] QB 773, [1975] 3 WLR 11, [1975] 2 All ER 684, 61 Cr App R 118, CA ^ R v Curr [1968] 2 QB 944, [1967] 2 WLR 595, [1967] 1 All ER 487, 51 Cr App R 113, CA ^ R v Whitehouse [1977] QB 868, [1977] 2 WLR 925, [1977] 3 All ER 737, 65 Cr App R 33, [1977] Crim LR 689, CA ^ R v Pickford [1995] QB 203, [1994] 3 WLR 1022, [1995] 1 Cr App R 420, CA ^ R v Pickford [1995] 1 Cr App R 420 at 424 ^ R v Fitzmaurice [1983] QB 1083, [1983] 2 WLR 227, [1983] 1 All ER 189, 76 Cr App R 17, [1982] Crim LR 677, CA ^ Race Relations Board v Applin [1973] 1 QB 815, [1973] 2 WLR 895, [1973] 2 All ER 1190, CA, affirmed [1975] AC 259, HL ^ R v Whitehouse (1977) 65 Cr App R 33 ^ R v Tyrrell [1894] 1 QB 710, [1891-4] All ER Rep 1215, sub nom R v Tyrell, 17 Cox CC, 70 LT 41, CCR ^ The Crimes Act 1961, section 66(1)(d) ^ The Crimes Act 1961, section 311(2) ^ Friedersdorf, Conor. "Judith Butler Overestimates the Power of Hateful Speech. " The Atlantic. 12 December 2017. 12 December 2017. ^ "18 U. § 2101 - U. Code Title 18. Crimes and Criminal Procedure § 2101 - FindLaw"..

Agreed. Abstract A person incurs inchoate criminal liability when he incites another person or other persons to commit a crime. The most salient characteristic of incitement, in comparison with the other forms of inchoate crime, is the existence of a communication that is made with a view to persuading the addressee(s) to commit an offence. This article explores the question of why incitement should incur criminal liability, and the nature of such liability. It also identifies its distinctive features. The principal focus here is on ambiguity in the putative words of incitement and on questions of gauging whether the words have had any effect on the actions of the addressee(s). It covers both the standard criminal offences and conduct which, arguably, should not be regulated by the criminal law, thereby raising issues of freedom of speech. Legal issues are set in the context of the common law generally, while drawing (for the most part) on English law in matters of detail. The General Features of Incitement Of the three forms in which inchoate crime may exist—attempt, conspiracy, and incitement—it is attempt that has received by far the most discussion, followed at some distance by conspiracy. Footnote 1 Yet incitement, too, poses a number of problems, both theoretical and practical, that merit an examination that goes beyond the standard measure of treatment in the criminal law texts. The present article, in contrast to these accounts, will concentrate on the pivotal role played by language as the means of effecting the communication (whether in written or oral form) which is at the core of the act of inciting criminal conduct. This approach, in addition to raising a number of considerations that are peculiar to the use of language in the criminal law, engages the tension that exists between some areas (at least) of incitement and issues of the protection of freedom of speech. It should be noted, at the outset, that “language” and “speech” will not be used interchangeably in this paper. The former will be used to designate any form of linguistic communication whatsoever, while the latter will be limited to those communications that can be regarded as possessing a modicum of social value so as to gain special protection, whether under any applicable human rights document or under the common law. The essence of the law of incitement is that a person (the “inciter”) urges another person or persons (the “incitee(s)”) to commit a criminal offence. A long-standing form of liability at common law, it has been restated in English law in Part 2 of the Serious Crime Act 2007. Footnote 2 This encompasses two different but cognate actions: “encouraging” the commission of a crime, and “assisting” in its perpetration. As such, it juxtaposes the ground previously occupied by the common law of incitement and that of accessory liability. “Incitement, ” as the older and more familiar word, will continue to be used here in preference to “encouragement. ” Accessory liability or “assisting” is relevant to the present paper only insofar as it sheds some comparative light on incitement. The bare message of incitement may be reinforced in various ways; for example, by the inciter adducing reasons (ranging from practical to moral considerations) as to why the incitee should commit the crime. Incitement is also distinct from, but can overlap with, situations where the inciter brings other influences to bear on him, whether by way of inducement (a bribe) or coercion (in the form of threats, which may amount to duress in law). Some general points about the structure and scope of incitement must first be explored. Words and Predicate Crime There are, irreducibly, two elements in the subject: the words of incitement themselves; and what will be described as the “predicate offence. ” The latter consists of the criminal offence(s) that the incitee is being urged to commit, irrespective of whether he proceeds to commit it. Sometimes the nature of the predicate offence will be abundantly clear from the words used by the inciter. More often, however, the inciter’s language will be ambiguous. This should not be surprising, for the people who are tried by the criminal courts do not characteristically choose their words with great care. The difficulty in identifying the predicate crime is illustrated by the statutory incitement provision applicable to terrorist offences. The Terrorism Act 2006, section 1, penalises any statement that is “a direct or indirect encouragement or other inducement to [the addressees] to the commission, preparation or instigation of acts of terrorism…. ” There is no completed crime of performing an “act of terrorism”: there is only a range of crimes that can be committed either in a terrorist mode or in a non-terrorist mode. As regards the first element, a number of terms have been used in the law to represent the idea of a person seeking to direct the actions of another towards criminal conduct: examples include “incite, ” “counsel, ” “encourage, ” “solicit, ” “promote, ” and “induce. ” The Offences against the Person Act 1861, section 4, uses the word “solicit” but for good measure adds “encourage” and “persuade”—an excess of terminology that is understandable in view of the gravity of murder, the predicate crime in this provision. There is no reason to believe that the meaning of any one of these verbs differs significantly from the meaning of any other that is in common use in this context—save in one regard. Some verbs carry the nuance that the words in question succeed in their conduct-shaping objective. Where such verbs are deployed, they would appear to leave unregulated by law the situation where the words failed in their purpose, with a consequent need to make express provision for that contingency. Footnote 3 Remarkably, the same idea of addressing others with a view to altering their conduct is to be found in provisions where the predicate action is not even a legal wrong. These are perforce statutory since the common law of incitement attaches only to substantive crimes. An early instance, section 3(2) of the Aliens (Restriction) Amendment Act 1919, penalised any alien who “promotes or attempts to promote industrial unrest, ” its date revealing it as a clumsy attempt to halt the spread of the Russian Revolution. More recently, section 28 of the Local Government Act 1988 forbade local authorities to “intentionally promote homosexuality” in schools, the section being enforceable by way of administrative procedures. Footnote 4 The same point can be made of both provisions: there is not, and never was, a crime of “industrial unrest” or of “homosexuality. ” Alternatively, incitement may encompass a range of predicate conduct, only some forms of which qualify as criminal offences. The former common law offence of sedition illustrates the point. The classic definition of the crime stated that it was “to incite any person to commit any crime in disturbance of the peace, or to raise discontent or disaffection amongst His Majesty’s subjects, or to promote feelings of ill-will and hostility between different classes of such subjects. ” Footnote 5 The first limb of this definition was firmly rooted in substantive criminal offences; the second part encompassed a variety of conduct, some forms of which were unregulated by law and others of which have now been subsumed in the specific statutory offences of incitement of racial or religious hatred. In incitement, as in attempted crime, there are delicate questions of judgement as to exactly at what point the law should intervene. In the interest of refining that point, a distinction has sometimes been drawn between incitement that is “direct” and incitement that is “indirect” so that the ambit of the relevant law is expanded, or (alternatively) reduced, by reference to its usual scope. The same distinction is also found in the context of other words of instigation. A pre-eminent example is section 1 of the Terrorism Act 2006, which aims to strike at the cultivation of potential recruits to terrorist causes. Footnote 6 Reflecting the gravity of the predicate conduct, it is drafted so as to encompass “indirect” as well as “direct” encouragement to commit acts of terrorism. Presumably it is in the latter sense that “encouragement” (or “incitement” or other such word) is meant when it is used without further elaboration, since “indirect”’ encouragement would encompass a fortiori encouragement which is direct. In marked contrast, the distinction may be drawn in order to make it clear that the provision in question is confined to “direct” incitement only. The Genocide Convention of 1948, Article 3(c), in this way, is limited to the “direct and public incitement to commit genocide. ” Footnote 7 The details of what amounts to indirect, as opposed to direct, incitement (or encouragement) will vary as between different legal regimes that employ that distinction, or different provisions within the same regime. But, generally, it may be said that direct incitement is explicitly to urge another person to commit the predicate offence. Indirect incitement is more circumspect, consisting of such forms as to state that committing a particular crime is morally justified or to be applauded, the message possibly being communicated even by the use of metaphor. These instances may be inferred as plausible extensions of the particular example of indirect incitement given in section 1(3) of the Terrorism Act 2006; namely, to “glorify” the commission of any act of terrorism. No matter how morally reprehensible it may be to applaud (still less, glorify) criminal acts that took place in the past, to impose liability for these actions is strikingly out of line with the general structure of the criminal law. The thread that runs through inchoate liability, in all its forms, is the prevention or punishment of present or future conduct. Yet it is possible to penalise the glorification of past crimes, without at the same time detracting from the general structure of the criminal law, by characterising it as a contributory factor to encouraging the commission of further crimes of the same type. Footnote 8 Primary or Secondary Liability If the decision has been taken to criminalise a particular type of conduct, there is abundant reason for imposing liability on its inchoate forms also. It has been said, in the context of attempt, that a law that did not do so “would speak with a strange moral voice. ” Footnote 9 The same is broadly true of incitement. Footnote 10 Once a system of criminal jurisprudence has taken the step of penalising the uttering of words of incitement, the most significant decision that it must then take is as to how the words of incitement are to relate to the predicate crime. There are two principal approaches. The first is the position taken historically by English law: that the (inchoate) crime is committed immediately the words of instigation are uttered, and irrespective of the nature of the response (if any) that the words arouse in the incitee(s). Of course, the suggestion that the latter should commit the crime in question may be made flippantly, or may be uttered in circumstances where there is not the least likelihood of evoking a compliant response. Herein lies the significance of the Serious Crime Act 2007, which contains the alternative requirements that the inciter “intends to encourage…its commission” (section 44) or that “he believes—(1) that the offence will be committed;” and (2) “that his act will encourage…its commission” (section 45). This is in addition to the element, common to both sections, that the accused “does an act capable of encouraging…the commission of an offence. ” Footnote 11 The second approach requires that the incitee act on the words of incitement by committing the predicate crime or (at least) attempting to do so. That is, the words of the inciter have caused, or in some sense contributed to, his conduct. This hinges on the commission of the predicate crime by the incitee as the essence of the mischief with which the law of incitement is concerned. The sequence of criminal conduct that is put in motion may extend beyond the immediate predicate offence. There are provisions that, reflecting this point, create an enlarged net of liability. Under section 22(2) of the Canadian Criminal Code 1985, in this way, any person who “counsels” another to commit an offence “is a party to every offence that the other commits in consequence of the counselling that the person who counselled knew or ought to have known was likely to be committed in consequence of the counselling. ” Yet, as this provision intimates, there must be some limitations if the words of incitement are not to be held responsible for the opening of a Pandora’s Box of criminality ranging, in extent and type, far beyond the immediate predicate crime. Footnote 12 There are some possible variations on the themes of the two principal approaches. One is grounded as a matter of substantive law in the first of these, but tempered by a prosecutorial policy whereby proceedings are to be brought only in circumstances where the completed crime is perpetrated by an incitee. Another, a significantly qualified variation on the second approach, was put forward by John Stuart Mill. “Instigation, ” he submitted, could properly be made punishable only if an “overt act has followed” … “and at least a probable connection can be established between the act and the instigation. ” Footnote 13 Therefore, instigation alone, without any attendant consequences, should not be punishable. Equally, the presence of such consequences should not suffice to ground liability in the absence of a “probable connection” between the two. Although outlined by Mill in the specific context of tyrannicide, this could be made applicable to any offence in the criminal calendar. Indeed, the U. S. Supreme Court, without seemingly being aware of the debt, propounded a remarkably similar test for the constitutionally permissible extent of the law of incitement in Brandenburg v. Ohio: that the First Amendment did not permit a state to forbid “advocacy of the use of force or of law violation except where such advocacy is directed to inciting or producing imminent lawless action and is likely to incite or produce such action. ” Footnote 14 So far as the two principal approaches are concerned, there are difficulties with each of them. If the message of incitement fails to evoke a criminal response, no harm of the sort of which the law should take cognisance (it could be argued) will have been done. However, if the incitee positively responds to the call to crime, a different issue is presented—one that is clearly expressed by Joel Feinberg: It might well be asked how one person—the inciter—can be held criminally responsible for the free and deliberate actions of another person—the one who is incited by his words. …for the deliberate, thoughtful, unforced, and undeceived acceptance of the advice of another person is without question itself a voluntary act. Footnote 15 The short response to this point is that the inciter is judged liable notwithstanding the fact that the incitee does not proceed to commit the substantive crime, nor was there any prospect of his doing so. The inciter is being held criminally responsible for his own actions, not those of the incitee. Or, to view the matter from a slightly different angle, the action of inciting crime is a wrong in itself (a “ malum in se, ” as it is sometimes termed). The inciter’s responsibility may thus be described as “primary” in nature. If it were contingent on the nature of the response provoked by his words in the incitee—a matter that could simply be a matter of chance—it could be aptly described as being one of “secondary” liability. Footnote 16 It is worth noting, however, that one of Feinberg’s conditions is that the incitee’s reaction is “thoughtful”—a condition that is absent when the incitee’s response is given in the heat of the moment. Thomas Scanlon presents a similar viewpoint to that of Feinberg, focusing instead on the situations where the inciter could be held responsible for any crime committed by the incitee—or, more crucially, the situations where he could be held to be criminally liable in his own right. Those circumstances are where the incitee is a child, or so weak-minded as to be legally incompetent, or if the words uttered by the inciter were addressed in the form of an order to a subordinate. Footnote 17 The theme common to all these situations is the disparity of status as between the parties. Finally, a system of criminal law that fully embraced the primary nature of incitement liability would not classify differently a situation where the predicate crime was committed by the incitee and one where he remained unmoved by the words of incitement. Such unremitting logic, however, was lost in the development of English law. A bifurcated position emerged whereby, if the incitee committed the crime in question, the inciter would be an accessory before the fact; if he did not, the situation remained categorised as one of “incitement. ” The Primary Character of Liability Exemplified The primary nature of incitement liability can be exemplified in several different ways, both actual and hypothetical. This can be done by examining the ways in which the words of the inciter may interact with the response of the incitee. Let us first take the situation where the incitee does not respond to the words of the inciter. As already noted, it is immaterial to the liability of the inciter that the crime that is instigated is not carried out. As a matter of English law, this has now been made explicit, both generally Footnote 18 and in the specific context of terrorism. Footnote 19 It is surprising that it was felt necessary to make this clear. There appears to have been no need to spell out the point that an unsuccessful attempt to commit a crime, or an attempt that is abandoned, nevertheless attracts criminal liability. The same applies to a planned criminal conspiracy that is not in fact executed. These are all examples of inchoate crime; and it is a reasonable assumption that the term “inchoate” signifies that the completed crime is not committed—by anyone. That Parliament was required to state what would appear to be obvious may stem from a peculiarity of incitement when compared with attempt and conspiracy. Once the words of incitement are uttered, whether the full crime is committed is outside the control of the inciter and depends on the volition of the incitee. Historically, this fundamental point in the scope of the law of incitement was decided in Higgins, Footnote 20 where the charge against the accused was that he did “solicit and incite” an employee to steal a quantity of material from his employer. The main point in the case was the question as to whether “some act should be laid to have been done in pursuance of the incitement”—a matter of some importance since the indictment did not specify that the employee did steal the goods in question. The court confessed to being unaware of any case where such further specification had been necessary. “[T]he gist of the offence, ” it emphasised, “is the incitement”—a pronouncement that appears to be contradicted later in the judgement in describing as “an attempt to incite” the situation where there is no criminal response forthcoming from the incitee. Footnote 21 This suffices to establish the primary nature of incitement liability. It could be reinforced by a consideration of the converse situation: one in which the incitee does proceed to commit the predicate crime. Let us assume that it could be established that the incitee would still have done so, even in the absence of the inciter’s words of encouragement. The moral significance of this assumption lies in its establishing that the words uttered by the inciter did not contribute to the sum total of criminal conduct (in the sense of the perpetration of a completed crime that would not otherwise have occurred). Should the inciter, consequently, be exempt from liability? Certainly, if such an argument were to be raised it might be difficult to convince a court of such a counter-factual sequence of events. However, the requirement to pursue such a hypothetical line of investigation is not uncommon in the law, as the following examples illustrate. Take the situation where a buyer purchases defective goods from a seller who has misrepresented their quality to him. The contractual redress that the buyer might have had will be denied to him if the seller can establish that the buyer would still have entered into the contract regardless of whether the misrepresentation had been made. This situation is analogous to the incitement scenario just outlined since the seller is put to establishing a hypothetical course of events. However, it might be replied, this position differs in a significant respect from that scenario since the outcome of such speculation has far more serious consequences where it is criminal liability that is at stake. Yet, even in the criminal law, the requirement to pursue such a speculative line of investigation is not unknown. The offence of insider dealing illustrates the point. Typically the misconduct takes the form of a company director who has access to confidential, price-sensitive information (the “tipper”) disclosing the information to another person (the “tippee”) so that the latter is able to speculate profitably in the company’s shares. The law makes explicit what is implicit in the criminalising of such conduct: that a person is not guilty of the crime by reason of “encouraging” the tippee to deal in the relevant securities if he shows that the tippee “would have done what he did even if he had not had the information” Footnote 22 Consequently, it may be assumed from these examples that it is not the existence of insuperable practical difficulties that forms the obstacle to the adoption of counter-factual speculation in this area. Aside from practical issues, a further test of primary liability may be identified in the very structure of the law. Does incitement recognise a defence of “voluntary abandonment” similar to the doctrine that goes by that name in the law of attempt? This holds that a person who sets out to commit a crime, and has proceeded far enough along that path to be guilty of an attempt, avoids liability if he then abandons his criminal design. Footnote 23 Some conditions attach to the defence; in particular, that it must represent a genuine change of heart. In the same way, would a person who instigates another to commit a crime avoid liability for incitement if, before the incitee could act on the words, he communicates to the latter a message retracting his earlier encouragement? Furthermore, should that suffice for an abandonment, or must the message be effective in dissuading the incitee? Footnote 24 As with attempt, there are arguments of principle in favour of both points of view. By the act of repenting, the inciter has not evinced “dangerousness of character” and consequently, it could be said, should not be subjected to criminal process. On the other hand, an act of incitement is committed just as soon as the words of encouragement have been expressed and irrespective of the reaction that they elicit. There is no clear authority on the point as regards incitement. It is noteworthy that Sir James Stephen believed that, by countermanding, the inciter avoided liability for being an accessory before the fact if the message were communicated to the incitee before the completed crime could be committed. Footnote 25 A fundamental characteristic of incitement, as will be noted, is that it readily admits of the possibility of multiple incitees. The consequence for the present purpose is that a complete revocation of the words of instigation may prove difficult, if not impossible. However, this could be taken as going to the issue of whether—in those circumstances only—an effective abandonment is truly feasible. Above all, whether the completed crime is committed or not is outside the control of the inciter. Duff’s words, written in the context of attempt, are especially relevant here: “…by completing the attempt he did what would, for all he knew, put it beyond his power to prevent the crime’s completion. ” Footnote 26 The Mens Rea of Incitement Some important points on incitement were uncertain until the enactment of the Serious Crime Act 2007. A classic text had disposed briefly of the mental element: “Intention or, at least, recklessness is needful. ” Footnote 27 Likewise, the Supreme Court of Canada in R v. Hamilton Footnote 28 stated that mens rea required an accompanying “intent or conscious disregard of [emphasis added] the substantial and unjustified risk inherent in the counselling. ” Footnote 29 Recent writings on English law have favoured a stricter approach. Victor Tadros has emphasised the point that “it is fundamental to incitement that one identifies in some way with the conduct of the incitee. Footnote 30 The Law Commission report that led to the enactment of the Serious Crime Act 2007 appears to have been persuaded by Andrew Ashworth’s view that, in the realm of inchoate offences, mere recklessness should not suffice. Footnote 31 The stricter approach, it could be added, is especially appropriate in the realm of language crime with its attendant possibility of interpretations being placed on the crucial words that differ from the speaker’s intended meaning. As already noted, the 2007 Act provides that the mental element is either that the accused intends to encourage its commission (section 44) or a combined belief that it will be committed and that his act will provide encouragement to that end (section 45). The former needs to be read against the principle that, when a criminal statute uses the term “intention, ” nothing less than that (recklessness, for instance) will suffice. There remains here a significant element of uncertainty that will be explored in Sect.  3, below. The Distinctive Aspects of Incitement Liability Even a brief exposition of the fundamentals of incitement suffices to suggest that it possesses several distinctive features. These will be recounted here and examined at greater length in the rest of this article. First, the communication that constitutes the action of incitement might be made on a one-to-one basis. At the other extreme, it could be made to a multiplicity of individuals (in newspapers and other media outlets, or the internet). Indeed, the perpetration of mass crimes will typically require structures, whether of communication or of command, within which co-ordinated conduct is rendered possible. Recent history has shown this, tragically, to be true of genocide. Footnote 32 Secondly, the prevalence of multi-sided communications means that incitement is more likely than other facets of the criminal law to raise cross-border issues. This is a factor that is explicitly recognised in section 4 of the Offences against the Person Act 1861 in stating that the inciter is liable in proposing “to any person” that he commit murder notwithstanding the fact that the ultimate victim may not be in the “Queen’s dominions. ” This is reflected more recently in the English draft Criminal Code (1989), clause 47 (4), which stipulates that a person could be convicted of incitement “although the identity of the person incited is unknown. ” The victim or victims of any consummated crimes that ensue from the communication may, likewise, be unknown and be located beyond national borders. Consequently, incitement is potentially the most far-reaching, yet uncertain, form of inchoate crime, since it may prove impossible to ascertain the number, location, or identity of the incitee(s) and of any possible victims. There was an unsuccessful attempt to limit the scope of section 4 in R v. Most, Footnote 33 which concerned a German language newspaper, Freiheit, published in London. The offending article applauded the recent murder of the Emperor of Russia [a reference to Czar Alexander II] as “an example to revolutionists throughout the world. ” As such, it was a manifestation of the regicidal mood spreading through Europe in the second half of the nineteenth century. The defendant argued that “any person” meant “some definite person. ” Denman J. rejected the submission: “I think the circulation to the world, to multitudes of persons wholly undefined, and to whom it would come, would be sufficient. ” Footnote 34 In so ruling, he greatly enhanced the possible scope of section 4. Thirdly, the communication that is at the core of incitement could be ambiguous, thereby giving rise to problems in the construction of the language used. Footnote 35 Fourthly, even where there is a settled core of meaning in the message, it may evoke different reactions from different people. Some may be persuaded to commit the predicate crime, while others might be repelled even by the suggestion that they should do so. Footnote 36 Fifthly, outside the settled core of the criminal law, in areas where the imposition of liability may be the subject of public debate, the dissemination of the view that particular actions do not merit such liability may well be taken as expressing the opinion that there is a moral right to break that law pending its reform. This, in turn, creates a conflict between the law of incitement and freedom of speech. Footnote 37 The Interpretation of Language The work of lawyers is inextricably involved with the analysis of language, whether in interpreting the sources of law itself (as in statutory construction) or in scrutinising the terms of private legal instruments (for example, contracts). These will have benefitted from professional drafting, invariably in the former case and usually in the latter. That point apart, the very fact of their being in written form will tend towards greater care in their composition. The opposite is true of oral communication, especially words of incitement, uttered without the benefit of legal advice, and typically blurted out without pause for reflection. Attributing meaning to them is, therefore, all the more difficult. Footnote 38 For this purpose, our discussion will be divided between issues of explicit incitement and oblique incitement. “Explicit incitement” describes the situation where the words can plausibly be interpreted as an instigation to commit a crime. This term will also be used of two sets of problematic circumstances under this heading: where the exact nature of the crime is not apparent from the words used; and where the words, on an alternative interpretation, could equally be construed as not amounting to a message of incitement at all. “Oblique incitement, ” by contrast, is not literally a call to commit crime, but the foreseeable (and possibly intended) consequence of the uttering of the words is the perpetration of some criminal offence by the person(s) being addressed. Explicit Incitement Instances of explicit incitement, for most purposes, are easy to identity. Consequently the focus here will be on the problematic situations mentioned above. Two episodes, separated by nearly 800 years, respectively illustrate the difficulties. The first occurred in 1170, arising out of the acrimonious disagreements between King Henry II and Thomas Becket over the respective powers of church and state. The King, in a fit of exasperation, called out (according to legend): “Will no one rid me of this turbulent priest? ” Four knights then went to Canterbury Cathedral, where they murdered Becket. That the King could be put on trial for instigating murder was not, of course, in the realm of possibility. The actions of the knights show clearly that they interpreted his words as a call to murder Becket. But that is very different from the question of his intention, as to which there were two points of uncertainty. Were his words intended to be a call to kill Beckett, as opposed to removing his interference in other ways? Indeed, would it even be intelligible to speak in terms of the King having had a clear intention as to the exact form in which he wished to be rid of Becket? The second episode, the notorious case of Craig and Bentley in 1952, provides an even more striking illustration of the problems inherent in language as the central element in incitement. Footnote 39 It is necessary to recall the facts. The accused were very different in character. Christopher Craig had marked criminal propensities, in particular an obsession with guns. Derek Bentley had a record for petty theft, largely attributable to the fact that he suffered from learning difficulties and was easily led astray. One evening, they decided on an impulse to burgle a warehouse. Craig, to Bentley’s knowledge, was carrying a gun. They were seen behaving suspiciously by neighbours, who raised the alarm, and the building was surrounded by the police. The final stages of the tragedy unfolded on the long, flat roof of the warehouse. Bentley was soon arrested by the first officer to reach the roof, Detective-Constable Fairfax. Craig held Fairfax at bay by brandishing his weapon. Bentley broke free, calling out: “Let him have it, Chris. ” Craig then fired his gun, wounding Fairfax in the shoulder. Craig went on to shoot repeatedly at random, killing a policeman, P. C. Miles, who had only just arrived on the roof top. Both accused were found guilty of murder: Craig for having fired the fatal shot, and Bentley for having incited him. Only Bentley was hanged since Craig, although more culpable, was below the age (18 years) at which persons could be subjected to capital punishment. No case could point up more vividly the critical role that can be played by incitement, Bentley being executed for having uttered five words. Footnote 40 The case also furnishes practical perspectives on two points that were mentioned in Sect.  1. It may reasonably be surmised that the murder and wounding of the police officers would have occurred regardless of whether Bentley had shouted the critical words. Craig was surrounded and in a panic, gun at the ready, and inflamed with feelings of hatred towards the police. Footnote 41 The case was also very different from Scanlon’s depiction of one of the types of situation where incitement liability may properly be imposed: that is, where the incitee is under the controlling influence of the inciter. Craig, far from being under the influence of Bentley, was the prime mover in the enterprise. Of the two, it was Bentley who could properly be described as “weak-minded. ” This is in addition to the fact that, being under arrest at the time, he was in no position to assert any authority that he might have possessed over Craig. It is the ambiguity of Bentley’s words that is our concern here. Footnote 42 It would be difficult to conceive of a situation where there was a wider gulf between the competing meanings of the same words. Did “Let him have it” possess a malevolent meaning (“Shoot the policeman”), or one that was benign (“Surrender your gun to him”)? Before approaching that question, it is necessary to note other aspects of those words. If the nature of the exhortation was ambiguous, there was no uncertainty as to the person to whom the words were referring. Even on the malevolent interpretation, they will have amounted to a call to shoot Detective-Constable Fairfax only. Nonetheless, the case for the prosecution, as presented in its opening speech, depended on an interpretation to the effect “that incitement…covered the whole of the shooting thereafter. ” Footnote 43 This is a very strained construction. It is also one that would seem to be precluded by an illustration given in the edition of Stephen’s work on the criminal law that was contemporary with the murder: “A instigates B to murder C, B murders D; A is not accessory before the fact to the murder of D. ” Footnote 44 Yet such an approach could conceivably fit with the tenor of at least one statement of incitement liability. As already noted, under section 22(2) of the Canadian Criminal Code, there is scope for imposing liability on the inciter for crimes committed by the incitee that go beyond the original predicate crime that the inciter could foresee as likely to ensue from the initial act of counselling. Whether such extended liability could properly be imposed at common law, without the explicit warrant of a provision such as section 22(2), is doubtful. If it could not, the only possible basis for the imposition of liability for incitement would be that Bentley’s words were to be construed broadly as a call to resist arrest, from whatever quarter, by potentially lethal force. Some accounts of the case, furthermore, attach importance to the lapse of time between the uttering of the words and the shooting of P. Miles, a period estimated as being at least 15 min. The question has been posed: “…are we to assume that if Craig had escaped from the roof, and if Miles had caught up with him and been shot a day, a week, a year later, then Bentley would still be guilty of murder? ” Footnote 45 Presumably the point behind the query is that, the longer the gap between the uttering of the words of incitement and the perpetration of the predicate crime, the greater the scope for arguing for the intrusion of other causal factors contributing to the latter. The answer, however, must unquestionably be in the affirmative. The fallacy behind the question lies in its failure to recognise that liability for incitement is primary in nature: hence, these other considerations are irrelevant. Once Bentley had uttered the words of incitement, he was liable irrespective of whether anyone was killed in consequence, or whether a different person was killed from the person envisaged at the time of their uttering, or whether any killing that did occur took place after a considerable lapse of time. Footnote 46 There also remains some considerable doubt as to whether Bentley shouted the critical words. He testified that he had not done so, and Craig denied having heard anything of the sort. Bentley was condemned on the basis of the evidence of three police officers that they had heard the words. Footnote 47 But their testimony could go only to the question of whether the words had been uttered. It had little bearing on the issue of whether Craig had heard them, especially in view of the increasing noise and confusion at the scene. Nevertheless, for the purposes of the present article, it will be assumed that they were in fact heard by Craig. If he did not do so, strictly the case was an instance of attempted incitement only. Footnote 48 What, then, is the correct approach to the interpretation of ambiguous language in situations, such as the Craig and Bentley case? Some approaches can be ruled out as being contrary to principle or as being entirely inappropriate for use in this area of the law. There may be a temptation, for instance, to adopt an ex post facto interpretation of the words in question. The episode culminated in murder, the argument would run, so the words are to be understood as having been an incitement to commit that very crime. This would be wrong as a matter of principle. Whatever the applicable test, it is to be applied to the words themselves regardless of their consequences (whether actual or supposed). Footnote 49 Alternatively, it might seem appropriate to seek assistance from a field of law where the role played by language is of central importance; namely, defamation. The test that is deployed there—sometimes referred to as the “single meaning rule”—is: “What would an ordinary and reasonable person infer as the natural and ordinary meaning of the words? ” It has been described in this way: “What matters is what the [judge] thinks is the one and only meaning that the readers…should have collectively understood…” Footnote 50 This approach might well be suitable for an area of the law that is concerned with potential damage to the plaintiff’s reputation at large. It is not so where criminal liability is an issue and where matters of the intention of the speaker and the foreseeable effects on the person(s) addressed are of central importance. However, it does possess the advantage of being a test that would not be embroiled in situations of actual or potential mismatch between the intention of the speaker and the way in which his words were understood by the addressee. In the absence of a single, overarching test such as this, there are two focal points to be explored. How were the words “Let him have it” intended by Bentley? In what sense were they understood by Craig? The court concentrated exclusively on the first question. That no consideration was given to the second question was not surprising since Craig denied having heard the words. But, let us assume, instead, that he had admitted to having heard them. There would then be several possibilities running along the intent-effect axis. It could be that the crucial words were both intended and understood in the malevolent sense (in which case, it would be a clear instance of incitement). Or, that the words were both uttered and understood in the benign sense (when, without question, there would be no liability). More problematic would be mismatch situations. The first would be where there was a malevolent intent behind the words but they were understood in the benign sense; the second where there was a benign intent but the words were received in a malevolent sense. The former could be categorised simply as an attempted incitement. As regards the latter, it could be said that the accused would be properly convicted if he knowingly took an unreasonable risk that his words would be understood as an encouragement to commit crime. On that basis, Bentley, even if not intending to incite Craig to commit murder, was reckless in choosing words that could readily be interpreted as bearing that meaning. Footnote 51 Indeed, an overriding emphasis on the way in which words are received by the addressee(s) is not unknown. It is to be found in section 1 of the Terrorism Act 2006, the cutting edge of which is “a statement that is likely to be understood by some or all of the members of the public to which it is published” as an encouragement of terrorism. Imposing criminal liability for the uttering of words is quite different from the infliction of such liability for the use of standard tools of crime. The consequences of using weapons such as guns and knives are closely determined by fixed features of the world such as the laws of ballistics and human vulnerability. Footnote 52 By contrast, words, even if they have a settled core of meaning, will characteristically be understood in different ways, and evoke different responses from different people. Therefore, it might be considered just that—in contrast to the views noted in Sect.  1. 4, above—the accused is held liable if he consciously assumed an unreasonable risk that his words would be understood as an incitement to commit crime. Oblique Incitement There has been extensive consideration of the moral responsibility of persons who perform acts with an oblique (or, as it is more often described, “indirect”) intention. Typical instances considered in this context are those where medical procedures are carried out on a pregnant woman leading inevitably to the destruction of the foetus, or where military action is taken in wartime against combatants that carries a high probability of civilian casualties. In neither of these situations is harm to the child or the civilians intended, but it is foreseen as the consequence of carrying out the medical procedures and the military action, respectively. These are the nearest analogous situations to the problem that concerns us here. That is where words spoken by A to B cannot be literally interpreted, in any sense, as a call to B to commit a crime, yet the surrounding circumstances are such that the perpetration of a crime by B is a reasonably foreseeable consequence of the words spoken. Two hypothetical examples may be given. The first of these has already attracted some academic attention. It is the murder committed by Othello, in Shakespeare’s play, of his wife Desdemona. Othello is goaded into this by the doubts as to her fidelity maliciously planted by Iago. Sir James Stephen believed that the only basis upon which Iago could have been convicted as an accessory before the fact to the murder was the advice that he gave to Othello: “Do it not with poison; strangle her in her bed, even the bed she hath contaminated. ” Footnote 53 The situation becomes, with these words, a straightforward case of incitement. The more interesting issue would be the question of Iago’s liability in their absence. Certainly, sexual infidelity that culminates in the killing of the unfaithful person by the wronged partner has formed a standard situation where, on account of provocation, a charge of murder could be reduced to a conviction for manslaughter. Footnote 54 Here, however, Desdemona (as Iago knows) is innocent of adultery; his motive in telling the falsehood is to foment marital discord (admittedly, of an indeterminate extent). Do these factors convert the case into one of inciting Othello to commit a crime against Desdemona? An obstacle to adopting that approach would be that, in view of the absence of explicit words of incitement, it would be difficult to determine exactly which crime that should be. The second example is drawn from Mill’s essay, On Liberty. The passage, though occasionally mentioned in commentaries on the essay, has received little detailed consideration, least of all from a legal point of view: No one pretends that actions should be as free as opinions. On the contrary, even opinions lose their immunity when the circumstances in which they are expressed are such as to constitute their expression a positive instigation to some mischievous act. An opinion that corn dealers are starvers of the poor, or that private property is robbery, ought to be unmolested when simply circulated through the press, but may justly incur punishment when delivered orally to an excited mob assembled before the house of a corn dealer, or when handed about among the same mob in the form of a placard. Footnote 55 The first point to be made about this example—one of which it is now easy to lose sight—is that it will have been quite topical. On Liberty was published in 1859 although substantially completed some years earlier. The Corn Laws, the cause of widespread distress in society, had been eventually repealed in the face of fierce opposition in 1846. As regards the content, it is noteworthy that Mill’s narrative stops abruptly after the above passage. He does not inform his readers of the reaction of the mob to the dissemination of the opinions in question. Did it perpetrate a violent act on the corn dealer or his property? Or, although initially agitated, did it calm down and disperse? Indeed, even to speak in terms of a “mob” is to ignore the fact that it is simply an aggregation of individuals, the reaction of some of whom may well have differed from that of others. The sentence “No one pretends that actions should be as free as opinions” is particularly worthy of attention. The most natural reading is that any eruption of violence should have been properly curtailed and punished by the authorities. But that is so obvious a point that it surely cannot have been what Mill meant. Rather, the word “actions” in this context must be taken as referring to the dissemination of the two provocative opinions in front of the corn dealer’s house. In other words, what appear to be instances of speech and nothing more—in oral form in one case, written in the other—become reclassified for this purpose as “actions. ” Footnote 56 As was the case with Iago in the previous example, the disseminators of the opinions in question were not, in so many words, inciting the use of violence. It was the juxtaposition of the messages and the location in which they were published that rendered such an outcome likely. How would the criminal law deal with those who circulated the messages in question? The nearest analogous situation in the English reports is R v. Burns, Footnote 57 a charge of sedition that arose out of riots at public meetings that were being addressed by the accused. The report, which consists of the direction to the jury by Cave J., reveals that the overriding considerations that the jury was directed to take into account were the motives of the accused: “…if you come to the conclusion that [the accused] were actuated by an honest desire to alleviate the misery of the unemployed…you should not be too swift to mark any hasty or ill-considered expression which they might utter in the excitement of the moment. ” Footnote 58 The point is borne out by an exchange between Cave J. and the Attorney-General, who was leading the prosecution: “Suppose a man were to write a letter to the papers attacking bakers or butchers generally with reference to the high prices of bread or meat”—the judge asked—“and imputing to them that they were a conspiracy to keep up the high prices, would that be a seditious libel…? ” That particular example was not fully in point since the dispersed newspaper readership, unlike the mob in Mill’s example, would not provide a focus of public disorder. The Attorney-General would not give a definite answer: it would all depend, he said, on the circumstances, especially the motives of the accused. Footnote 59 What would appear to have been a gap in the criminal law’s protection of individuals through the doctrine of incitement was, to some extent, repaired by the general law of public order—in this case, the crime of sedition. The question now arises as to whether, with the recent abolition of that offence in English law, Footnote 60 that lacuna has been re-opened. Responses to Language In this section, our attention moves from questions of the meaning, or interpretation, of the message of incitement to the response that the communication arouses in the person or persons addressed. The two matters are not entirely separate. The prime consideration in the likely reaction of the addressee(s) will be the interpretation that the latter will place on the words, rather than the intention with which they were spoken or written, still less the “meaning” of the words in some abstract sense. This is a point that is borne out by the emphasis placed by section 1 of the Terrorism Act 2006 (quoted above) on the way in which a statement is likely to be understood by those to whom it is published. In principle, irrespective of the legal system, there are two main approaches to the structure of crimes where the actus reus (or equivalent term) consists of uttering words, whether in spoken or written form. The one focuses exclusively on the words, without any regard of the effect that they have or might have on those who are exposed to them. The mere fact of having uttered words of the appropriate type suffices, in itself, to found liability. The clearest example is perjury, committed by a witness giving testimony that he knows to be untruthful. Whether the court believes, or is swayed by, the testimony is irrelevant to the issue of liability. We may call this a “context-independent” crime. The other approach goes further, taking into account the effect (whether actual or surmised) exerted on the recipients of the message. Liability is founded in this case only if the communication has exercised on them a harmful influence as defined by the applicable law. And, of course, it may work its influence only if they have heard or read it. This may be called a “context-dependent” crime. The distinction between the two approaches, though fundamental, has scarcely been noted. It happens to have been captured, though only in passing, in one of the most famous trials of antiquity: that of Socrates in 399 B. for corrupting the youth of Athens. At one point in his defence speech Socrates asks his accusers: “…surely we know what kinds of corruption affect the young; so you tell us whether you know of any one who under my influence has fallen from piety into impiety, or from sober into wanton conduct. ” Footnote 61 The question was this: was Socrates to be condemned simply on the basis of the content of his teachings? Or did his accusers have to establish, in addition, that those teachings had worked an effect that was harmful (harm being judged as being of the type that was contrary to Athenian law) to those who had been exposed to them? The implication behind the quoted passage was that Socrates was arguing, as was to be expected, in favour of the latter characterisation. To which of these two models of liability does the law of incitement most closely approximate? At common law incitement would appear to have been a context-independent form of crime: the nature of the response of the addressee had no bearing on the issue of the liability of the person who extended the message of encouragement. The position is not so clear under the Serious Crime Act 2007. The key provisions, sections 44 and 45, depend on the doing of an act “capable of encouraging…the commission of an offence. ” But what does “capable of encouraging” mean? Does it suffice that there is a verbal formula that can readily be interpreted as an instigation to the addressee(s) to commit a crime? Or is there an additional element: that it is capable of doing so only when the proclivities of the addressee(s) are factored into the situation? The report of the Law Commission that led to the 2007 Act is not helpful on the point. It concedes the obvious point that inchoate liability is premised on its enhancing “the prospect of actual harm occurring, ” Footnote 62 while admitting an “area of potential difficulty” if nobody is aware of the act of encouragement. Footnote 63 Incitement and Freedom of Speech It remains to consider the question of how the law of incitement may be reconciled with the claims of freedom of speech. From a formal point of view, it might appear that there is no conflict whatsoever. Individuals are free to speak insofar as they are not subject to legal duties to refrain from speaking (particularly, for our purpose, the duty not to incite crime). However, the space that is occupied by those duties may be so extensive as to leave little room for meaningful discourse. Furthermore, it might be thought that speech that encourages the listener(s) to break the law is devoid of moral merit and so undeserving of legal protection. But that is to assume that the law is beyond critical reproach in every particular and that no scope is to be left for civil disobedience. How, then, is an accommodation to be reached? A suitable starting point here is a consideration of the problem in the light of the various rationales of freedom of speech. Liberty of speech is often valued as a means of searching out the truth on particular matters. However, that can have no application to the present problem because sentences that express commands lack truth conditions; that is, they cannot be true or false. Rather, they can be described only as either having been complied with or as not having secured compliance. The same goes for sentences, typical of situations of incitement, that urge a course of action without necessarily going as far as commanding it. A more promising line of analysis is to consider the matter in the light of the rationale of freedom of speech that views it as a means of facilitating the efficient working of a democratic system of government. Footnote 64 This holds that, when a range of possible policy choices is available for consideration by the people and subjected to vigorous discussion, there is a greater likelihood that the selection that is made will be the best in the circumstances. The same applies in regard to candidates for electoral office. Among the various types of speech, clearly, this approach attaches the highest importance to speech that is political in content. Other rationales might accord importance to entirely different forms of speech. Political speech, however, might be directed, not to the electoral merits of particular persons or parties, but to the wisdom of individual laws, in particular criminal laws. In that event, it can be seen that a call to repeal or reform the law in question could be interpreted as a claim that the law as it stands has little (if any) claim on the obedience of citizens, and consequently as an incitement to disobey the law in its unreformed state. Footnote 65 Even laws which any civilised society must contain are not immune to challenge in this way, in point of detail at least. There is no more basic legal prohibition than that of homicide. Yet the status of acts of tyrannicide, whether as a moral imperative or as a permissible action, has at times been the subject of vigorous debate. Footnote 66 More provocative still, and infinitely more far-reaching in its practical implications, is the view espoused by some philosophers that there is nothing intrinsically wrong in committing infanticide. Footnote 67 The reason offered is that, from a moral point of view, to kill a neonate is indistinguishable from abortion, and that the prohibition of it can be defended only on the basis of the distressing effect that it might have on others. Could publications that seek to defend tyrannicide and infanticide, therefore, be considered as incitements to commit those forms of killing? Or are they to be treated merely as exhortations to change the law (or, at least, prosecutorial policy) in those same areas? The practical relevance of debates about the legitimacy of tyrannicide or regicide (clearly, they are not necessarily the same) is much reduced from the situation of 100–150 years ago, when plots abounded for the assassination of various European monarchs—the prospects of success for which had been increased significantly by technological advances, such as more compact explosives and smaller guns. The law on freedom of speech must tread a delicate line between safeguarding open discussion of the legitimacy of maintaining particular prohibitions, on the one hand, and penalising instigations to commit the very same transgressions, on the other. Case law on the First Amendment has sought, in this way, to differentiate between “advocacy” (which is constitutionally protected) and “incitement” (which may legitimately be penalised). In a confusing double use of the former term, the U. Supreme Court explained it as being “the distinction between advocacy of abstract doctrine and advocacy directed at promoting unlawful action. ” Footnote 68 The viability of the distinction has been criticised on two grounds. First, there may not, in the end, be a distinction of substance between the two since effective advocacy might amount to an incitement. As Holmes J. expressed it: “The only difference between the expression of an opinion and an incitement in the narrower sense is the speaker’s enthusiasm for the result. ” Footnote 69 Second, even if the distinction is intelligible, the Founding Fathers of the Constitution were practical men who did not intend to confine the protection of the First Amendment to abstract discussions of an academic sort. Footnote 70 The difficulty with the first objection is that it appears to make the advocacy/incitement distinction turn, after the event, on the impact made by the written or spoken words: if any addressee acts in the way that is urged by the speaker, the words amount to incitement; if not, they constitute advocacy. This is certainly at variance with the approach of English law on the subject. Furthermore, there is surely a third possibility: that of speech that is more than abstract discussion, but less than a call to break the law. The speech would be a call to action, but the action in point would be the repeal of the law in question. More pertinently, the very frequency or infrequency with which the issue is raised as a practical matter may incline the analysis in the direction of one or the other of the advocacy/incitement polarities. The merciful infrequency with which the question is presented as to whether assassination is a proper response to the actions of a tyrant will tend to place that issue towards the advocacy end of the spectrum. English law lacks does not formally distinguish between advocacy and incitement. This is not surprising in view of the historical absence of a written guarantee of freedom of speech. Yet it is possible to find arguments that, though not explicitly cast in these terms, reflect the substance of that distinction. In R v. Bowman Footnote 71 a prosecution under the Incitement to Mutiny Act 1797, the defence unsuccessfully argued that the publication was a general comment on the use of military force to suppress industrial riots rather than a specific attempt to persuade troops to disobey their officers. Beyond that, it is possible to find cases where the antithesis between advocacy and incitement is intertwined with several of the themes of the present article. The case of R v. Diamond Footnote 72 furnishes a good example. The defendant was charged with contravening section 4 of the Offences against the Person Act 1861 in soliciting “persons unknown” to murder the Viceroy of Ireland, Lord French. The alleged incitement took the form of an article in a newspaper, the London Catholic Herald, entitled “Killing no Murder. ” The tone of the article was decidedly abstract. It drew by way of justification on historical examples of the assassination of figures of oppression, from that of Julius Caesar to the assassination in 1914 of the Archduke Franz Ferdinand. There was no mention of anyone involved in the British administration of Ireland. The only connection with Lord French was that there had been an (unsuccessful) attempt on his life a week prior to the publication of the article. There was not even an Irish edition of the newspaper, though, like other London newspapers, some copies would doubtless have found their way to Ireland. Coleridge J. ’s direction to the jury included the following points. It was not necessary that any person be proved to have been persuaded to act on the message conveyed in the newspaper. It was a matter for the jury alone to decide on the “meaning of the language” used in the piece (he did not go on to elucidate what he meant by “meaning”). And, finally, it fell to the jury to decide whether, in the circumstances, the expression of an abstract opinion had become an encouragement to commit crime. The Campbell prosecution of 1924 is best known as having led to the fall of the first Labour government after only a few months in office. The centrepiece was an issue of the Workers’ Weekly, a Communist publication that called on members of the armed forces to let it be known that “neither in a class war nor in a military war will you turn your guns on your fellow workers. ” Campbell, as acting editor, was charged under the Incitement to Mutiny Act 1797. The case did not proceed to trial, the circumstances under which the prosecution was withdrawn giving rise to serious constitutional issues. Had it done so, it would have been ripe for analysis in accordance with the principal themes of the present article. As a matter of interpretation, the article could only have been referring to war with Soviet Russia or the deployment of troops in industrial disputes. There was no immediate prospect of troops being deployed in these ways, Footnote 73 the publication being by way of general appeal only. Apart from the issue of interpretation, therefore, the article would have been categorised as an occasion of advocacy rather than of incitement. Finally, an argument could have been constructed that would have been based on the concept of context-dependency, emphasising the paucity of Communist members of the armed forces. However, once an idea enters general currency, it is capable of exerting an influence, whether for good or ill, in circumstances that were not fully envisaged at the time of its original publication. Holmes J. once famously remarked: “Every idea is an incitement. It offers itself for belief, and, if believed, it is acted on unless some other belief outweighs it, or some failure of energy stifles the movement at its birth. ” Footnote 74 Consider this in the light of the motion passed by the Oxford Union in February 1933: “This House will in no circumstances fight for its King and country. ” Had the same message been specifically directed at members of the armed forces, it could have amounted to an offence under section 1 of the Incitement to Disaffection Act 1934, since the implication would have been: “This House will in no circumstances fight… nor should you. ” However, published (as it was) without being so directed, the stated refusal to bear arms irrespective of the political situation possessed only the abstract quality of the student debating society in which it was aired. The earliest guarantees of freedom of speech, not surprisingly, did not address the question of reconciling those guarantees with the law of incitement. Accumulation of experience, however, has led the drafters of modern declarations of the guarantee to attempt some accommodation between the two. For example, while Article 19(1) of the Constitution of India 1949 assures to all its citizens the right to “freedom of speech and expression, ” Article 19(2) goes on to state that nothing in that provision shall prevent the enactment of legislation “in so far as such law imposes reasonable restrictions on the exercise of the right in the interests of…or in relation to contempt of court, defamation or incitement to an offence. ” Clearly, the protection afforded by Article 19(1) would be substantially diminished by permitting exceptions to it merely in the form of “restrictions” that did nothing more than relate, in pith and substance, to “incitement to an offence” (or contempt of court or defamation). A more substantial limitation was needed to limit the scope of any restrictions—a burden that is borne here entirely by the further requirement that any restriction be “reasonable. ” In contrast, the Constitution of South Africa 1996, section 16(2), permits of a wider scope for freedom of speech since the only relevant qualification is that it does not extend to “incitement to imminent violence, ” or to “advocacy of hatred” that is based on certain attributes (e. g. gender, religion) and which, moreover, “constitutes incitement to cause harm. ” Conclusion Incitement has traditionally been relegated to the margins in criminal law textbooks. Several developments, however, have rendered it of ever-expanding importance. Modern ease of communication, both nationally and internationally, has vastly increased the potential audience for messages of incitement and made ever-shorter the period in which exposure to them may evoke a criminal response. Of greater importance is the fact that two of the scourges of the modern world—genocide and terrorism—have been met by legal responses in which the role played by incitement has been recognised as being of special significance. This article has sought to illuminate some of the hitherto unexplored issues that are likely to be raised by a more frequent resort to the law of incitement. Notes 1. See especially R. A. Duff, Criminal Attempts (Oxford 1996) and I. Dennis, “The Rationale of Criminal Conspiracy” (1977) 93 L. Q. R. 39. 2. Serious Crime Act 2007, s. 59. 3. In this way, the Police Act 1964, s. 53(1), penalises a person who “induces” a police officer to commit a disciplinary offence, and is supplemented by the additional phrases, “or attempts to induce” and “does any act calculated to induce, ” such an offence. 4. It was repealed by the Local Government Act 2003, s. 122. 5. This definition, given by Stephen, was adopted in the Law Commission Working Paper No. 72, Codification of the Criminal Law, Sedition and Allied Offences, p. 42. 6. It has since been reinforced by the Counter-Terrorism and Security Act 2015, Part V, with a battery of provisions with the aim of preventing people from “being drawn into terrorism. ” 7. The same formula is used in the Rome Statute of the International Criminal Court 2002, Article 25(3)(e). 8. A case in point is R v. Antonelli and Barberi (1906) J. P. 4, the prosecution of the distributors of an Italian language newspaper published in London. On the fifth anniversary of the murder of the King of Italy, it carried an article in praise of the assassin. On appeal against conviction Phillimore J. ruled: “The question is—Does it, by the praise of [the assassin] incite anyone to murder Emmanuel III [the then-King of Italy] or any other sovereign of Europe? ” (ibid., at p. 6). A striking difference is that s. 1(3) penalises the glorification of any act of terrorism per se, while in this case the matter was left to the jury as to whether it amounted to incitement. 9. Duff, Criminal Attempts, p. 134. However, see G. Yaffe, Attempts in the Philosophy of Action and the Criminal Law (Oxford 2010), especially chapter 1, for an exposition and critique of what Yaffe calls the “Transfer Principle”—that is, the principle that “the legitimacy of criminalization transfers from completion to attempt” (p. 21). An examination of whether a similar principle could be applicable to incitement liability is beyond the scope of the present article. 10. See, further, S. Leader, “Free Speech and the Advocacy of Illegal Action in Law and Political Theory” (1982) 82 Columbia Law Review 412. 11. Serious Crime Act 2007, ss. 44(1) and 45(1). 12. It is possible that the Serious Crime Act 2007, s. 49(2), may serve the same function in dealing with the position where the action of the accused is “capable of encouraging…the commission of a number of offences. ” In the absence of authority, it is unclear whether this refers to a series of offences in sequence, or a range of alternative offences in the first place, or indeed both these situations. 13. J. Mill, On Liberty (Penguin Classics ed. London 1985), p. 76n. 14. 395 U. 444 (1969). A noteworthy point of difference is that Mill requires a connected act to follow, not (as here) a combination of the intent with which the words were spoken and their likely consequences. 15. Feinberg, “Limits to the Free Expression of Opinion” in J. Feinberg and J. Coleman, Philosophy of Law (7th ed., London 2004), 379, at p. 390. 16. Nevertheless, the seriousness of an act of incitement is generally considered to be determined, in some unspecified way, by the gravity of the crime that is incited. This link, it is submitted, does not detract from the essentially primary nature of incitement liability. 17. T. Scanlon, “A Theory of Freedom of Expression” (1972) 1 Philosophy and Public Affairs 204: reprinted as T. Scanlon, The Difficulty of Tolerance: Essays in Political Philosophy (Cambridge 2003), chapter 1. 18. 49(1). 19. Terrorism Act 2006, s. 1(5)(b). 20. (1801) 2 East 5; 103 E. 269. 21. Nevertheless, the ruling appears to be consistent with a much earlier, briefly reported, case: Bacon (1664) 1 Lev. 146; 83 E. 341. The accused had offered a sum of money to a person to carry out a murder. In rejecting his appeal against conviction, the court stated simply: “anciently the will was taken for the deed in matters of felony. ”. 22. Criminal Justice Act 1993, s. 53(1)(c) and s. 53(2)(c). 23. Duff, Criminal Attempts, at pp. 66–75. 24. The former would fit with the idea of incitement as imposing primary liability. I am grateful to Antony Duff for making this point to me. 25. Stephen, A Digest of the Criminal Law (Indictable Offences) (9th ed., by Sturge: London 1950), p. 26. Duff, Criminal Attempts, at p. 396. 27. G. Williams, Criminal Law: The General Part (2nd ed., London 1961), p. 611. 28. (2005) 255 D. L. (4th) 283. 29. Ibid., at para. [29]. 30. V. Tadros, “The System of the Criminal Law” (2002) 22 Legal Studies 448, at p. 454. 31. Law Commission, Inchoate Liability for Assisting and Encouraging Crime (Cm 6878, 2006), at para. 32. Most notably, several of the prosecutions brought in the aftermath of the Rwanda genocide of 1994 were based on charges of incitement: see L. May, Genocide: A Normative Account (Cambridge 2010), chapter 10 (“Incitement to Genocide and the Rwanda Media case”). 33. (1881) 7 Q. B. D. 244. 34. 244, at p. 257. 35. See further Sect.  2, below. 36. See further Sect.  3, below. 37. See further Sect.  4, below. 38. For an unusual instance of a case that involved liability for, and the interpretation of, spoken words, see R v. Malik [1968] 1 All E. 582. The defendant argued that the words that he was charged with having spoken had a different meaning to him, as a West Indian, than to someone raised in Britain: see at p. 583B. The response of the court is at p. 584. The transcript of the trial is contained in the Notable British Trials series: H. Montgomery Hyde (ed. ), The Trial of Christopher Craig and Derek William Bentley (London 1954). 40. There was another important point of law in the case. Under the doctrine of common design, if both accused had embarked on their enterprise with the intention of offering violence, they would both be held liable for any force that might be used by only one of them. The doctrine would appear to have sufficed to secure Bentley’s conviction. However, it was thought to be no longer applicable as soon as Bentley, as the other participant, was arrested. 41. The reason was that the police had recently secured the conviction for violent crime of Craig’s brother. There is a further, less well known, ambiguity in the exchanges on the roof. When the police were removing Bentley from the crime scene, after the murder but while Craig was still at large, Bentley shouted: “Look out, Chris; they’re taking me down. ” There was some inconclusive discussion at the trial as to whether this was a further incitement to Craig to continue shooting, or whether it was a plea to him to stop in case he, Bentley, was caught in the cross-fire. See The Trial of Christopher Craig and Derek William Bentley, at pp. 43, 191–192, and 204. 43. The Trial of Christopher Craig and Derek William Bentley, at p. 44. Stephen, A Digest of the Criminal Law at p. 45. Yallop, To Encourage the Others (London 1971), p. 151. 46. In regard to the last point, there is an interesting comparison to be drawn here with provocation (or, as it is now known, “loss of control”). Where this is pleaded to a charge of murder, the time that elapsed between the trigger event and the homicide is one amongst several factors that the jury is directed to take into account since, with the passage of time, the anger of the accused at the act of provocation might have abated. 47. It is ironic that Bentley’s counsel was put to arguing at length about the intent behind words that his client denied having said. 48. There was clear authority that such a doubly inchoate crime was known to English law. Banks (1871–74) 12 Cox C. 393, a letter containing an incitement to commit a crime was intercepted before it could reach the intended addressee. The jury was held entitled on the facts to return a verdict of attempting to incite. As with all attempt situations, the actions of the accused must be more than merely preparatory: R v. Rowley [1991] 4 All E. 649. Compare the approach under the U. Model Penal Code (American Law Institute, 1962) section 5. 02: “It is immaterial…that the actor fails to communicate with the person he solicits to commit a crime if his conduct was designed to effect such communication. 49. The critical words could not be regarded, even on the malevolent interpretation, as an unequivocal incitement to commit murder. They could equally be interpreted as an exhortation to inflict serious injury. This, however, would not affect the outcome of the case since the mens rea of murder includes intention to commit grievous bodily harm. 50. Ajinomoto Sweeteners Europe SAS v. Asda Stores Ltd. [2009] EWHC 1717 (QB); [2009] 3 W. 1149, at pp. 1153–61. 51. I am grateful to Antony Duff for helping me to clarify the mismatch situations. 52. See D. v. Smith [1961] A. 290 as an example of the interplay of these factors in a situation where the accused did not intend, in the narrow sense, to kill the accused. 53. Act IV, scene 1. 54. See now the Coroners and Justice Act 2009, s. 55(6)(c), according to which the fact that “a thing done or said constituted sexual infidelity” is to be disregarded in determining whether a loss of self-control had a “qualifying trigger” for the purposes of the Act. The scenario accords, certainly, with the requirement of “a thing…said”; however, that was not actual sexual infidelity but rather a false allegation of the same. 55. Mill, On Liberty, at p. 119. 56. This is perhaps an anticipation of the idea of “speech acts” espoused by John Austin in How to Do Things with Words (Oxford 1961). 57. (1886-1890) 16 Cox C. 355. 58. Ibid., at p. 363. Ibid., at pp. 360–361. 60. By the Coroners and Justice Act 2009, s. 73(a). 61. Xenophon, Anabasis Books IV–VIII, Symposium and Apology (Loeb Classical Library, London 1922), p. 499. 62. Inchoate Liability for Assisting and Encouraging Crime, at para. 63. 64. This is a perspective particularly associated with the writings of Alexander Meiklejohn: see, for example, note 70, below. 65. On the other hand, liability still depending on mens rea, it might be difficult to show that the speaker intended his audience to break the law. Moreover, the Serious Crime Act 2007, s. 50, furnishes a defence that it was “reasonable” for the accused to have acted as he did in the circumstances. Of particular value to him will be the importance attached by s. 50(3)(b) to the purpose that he had in so acting. 66. See the reference to this dispute in Mill, On Liberty, at p. 75. 67. See, for example, P. Singer, Practical Ethics (Cambridge 1979), pp. 122–126. 68. Yates v. U. 354 U. 298 (1957). 69. Gitlow v. New York 268 U. 652 (1925), at p. 673. 70. Meiklejohn, Political Freedom: The Constitutional Powers of the People (Oxford 1965), pp. 41–42. 71. (1912) 76 J. 271. 72. (1920) 84 J. 211. 73. This is affirmed by A. Taylor, English History 1914-1945 (Oxford 1965), p. 225. 74. Gitlow v. 652 (1925). Acknowledgements Thanks are due to Philip Handler for clarifying historical points and to Antony Duff, Hannah Quirk, Martin Wasik, and the anonymous referees for their criticisms of earlier drafts. The usual disclaimers apply. Author information Affiliations Law School, University of Manchester, Manchester, M13 9PL, UK Joseph Jaconelli Authors Search for Joseph Jaconelli in: Corresponding author Correspondence to Joseph Jaconelli. Rights and permissions Open Access This article is distributed under the terms of the Creative Commons Attribution 4. 0 International License (), which permits unrestricted use, distribution, and reproduction in any medium, provided you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made. Reprints and Permissions About this article Cite this article Jaconelli, J. Incitement: A Study in Language Crime. Criminal Law, Philosophy 12, 245–265 (2018). Download citation Published: 19 July 2017 Issue Date: June 2018 DOI: Keywords Advocacy Craig and Bentley case Inchoate crime Incitement Freedom of speech Genocide Mill On Liberty Terrorism.

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Privacy Terms © 2020 Assemble Digital Ltd. all rights reserved. The verdict: Close, but no Shoggoth. Color Out of Space Free stream of consciousness. Color Out of Space Free stream new albums. Color Out of Space Free streaming sur internet. West of Arkham the hills rise wild, and there are valleys with deep woods that no axe has ever cut. There are dark narrow glens where the trees slope fantastically, and where thin brooklets trickle without ever having caught the glint of sunlight. On the gentler slopes there are farms, ancient and rocky, with squat, moss-coated cottages brooding eternally over old New England secrets in the lee of great ledges; but these are all vacant now, the wide chimneys crumbling and the shingled sides bulging perilously beneath low gambrel roofs. The old folk have gone away, and foreigners do not like to live there. French-Canadians have tried it, Italians have tried it, and the Poles have come and departed. It is not because of anything that can be seen or heard or handled, but because of something that is imagined. The place is not good for the imagination, and does not bring restful dreams at night. It must be this which keeps the foreigners away, for old Ammi Pierce has never told them of anything he recalls from the strange days. Ammi, whose head has been a little queer for years, is the only one who still remains, or who ever talks of the strange days; and he dares to do this because his house is so near the open fields and the travelled roads around Arkham. There was once a road over the hills and through the valleys, that ran straight where the blasted heath is now; but people ceased to use it and a new road was laid curving far toward the south. Traces of the old one can still be found amidst the weeds of a returning wilderness, and some of them will doubtless linger even when half the hollows are flooded for the new reservoir. Then the dark woods will be cut down and the blasted heath will slumber far below blue waters whose surface will mirror the sky and ripple in the sun. And the secrets of the strange days will be one with the deep’s secrets; one with the hidden lore of old ocean, and all the mystery of primal earth. When I went into the hills and vales to survey for the new reservoir they told me the place was evil. They told me this in Arkham, and because that is a very old town full of witch legends I thought the evil must be something which grandams had whispered to children through centuries. The name “blasted heath” seemed to me very odd and theatrical, and I wondered how it had come into the folklore of a Puritan people. Then I saw that dark westward tangle of glens and slopes for myself, and ceased to wonder at anything besides its own elder mystery. It was morning when I saw it, but shadow lurked always there. The trees grew too thickly, and their trunks were too big for any healthy New England wood. There was too much silence in the dim alleys between them, and the floor was too soft with the dank moss and mattings of infinite years of decay. In the open spaces, mostly along the line of the old road, there were little hillside farms; sometimes with all the buildings standing, sometimes with only one or two, and sometimes with only a lone chimney or fast-filling cellar. Weeds and briers reigned, and furtive wild things rustled in the undergrowth. Upon everything was a haze of restlessness and oppression; a touch of the unreal and the grotesque, as if some vital element of perspective or chiaroscuro were awry. I did not wonder that the foreigners would not stay, for this was no region to sleep in. It was too much like a landscape of Salvator Rosa; too much like some forbidden woodcut in a tale of terror. But even all this was not so bad as the blasted heath. I knew it the moment I came upon it at the bottom of a spacious valley; for no other name could fit such a thing, or any other thing fit such a name. It was as if the poet had coined the phrase from having seen this one particular region. It must, I thought as I viewed it, be the outcome of a fire; but why had nothing new ever grown over those five acres of grey desolation that sprawled open to the sky like a great spot eaten by acid in the woods and fields? It lay largely to the north of the ancient road line, but encroached a little on the other side. I felt an odd reluctance about approaching, and did so at last only because my business took me through and past it. There was no vegetation of any kind on that broad expanse, but only a fine grey dust or ash which no wind seemed ever to blow about. The trees near it were sickly and stunted, and many dead trunks stood or lay rotting at the rim. As I walked hurriedly by I saw the tumbled bricks and stones of an old chimney and cellar on my right, and the yawning black maw of an abandoned well whose stagnant vapours played strange tricks with the hues of the sunlight. Even the long, dark woodland climb beyond seemed welcome in contrast, and I marvelled no more at the frightened whispers of Arkham people. There had been no house or ruin near; even in the old days the place must have been lonely and remote. And at twilight, dreading to repass that ominous spot, I walked circuitously back to the town by the curving road on the south. I vaguely wished some clouds would gather, for an odd timidity about the deep skyey voids above had crept into my soul. In the evening I asked old people in Arkham about the blasted heath, and what was meant by that phrase “strange days” which so many evasively muttered. I could not, however, get any good answers, except that all the mystery was much more recent than I had dreamed. It was not a matter of old legendry at all, but something within the lifetime of those who spoke. It had happened in the ’eighties, and a family had disappeared or was killed. Speakers would not be exact; and because they all told me to pay no attention to old Ammi Pierce’s crazy tales, I sought him out the next morning, having heard that he lived alone in the ancient tottering cottage where the trees first begin to get very thick. It was a fearsomely archaic place, and had begun to exude the faint miasmal odour which clings about houses that have stood too long. Only with persistent knocking could I rouse the aged man, and when he shuffled timidly to the door I could tell he was not glad to see me. He was not so feeble as I had expected; but his eyes drooped in a curious way, and his unkempt clothing and white beard made him seem very worn and dismal. Not knowing just how he could best be launched on his tales, I feigned a matter of business; told him of my surveying, and asked vague questions about the district. He was far brighter and more educated than I had been led to think, and before I knew it had grasped quite as much of the subject as any man I had talked with in Arkham. He was not like other rustics I had known in the sections where reservoirs were to be. From him there were no protests at the miles of old wood and farmland to be blotted out, though perhaps there would have been had not his home lain outside the bounds of the future lake. Relief was all that he shewed; relief at the doom of the dark ancient valleys through which he had roamed all his life. They were better under water now—better under water since the strange days. And with this opening his husky voice sank low, while his body leaned forward and his right forefinger began to point shakily and impressively. It was then that I heard the story, and as the rambling voice scraped and whispered on I shivered again and again despite the summer day. Often I had to recall the speaker from ramblings, piece out scientific points which he knew only by a fading parrot memory of professors’ talk, or bridge over gaps where his sense of logic and continuity broke down. When he was done I did not wonder that his mind had snapped a trifle, or that the folk of Arkham would not speak much of the blasted heath. I hurried back before sunset to my hotel, unwilling to have the stars come out above me in the open; and the next day returned to Boston to give up my position. I could not go into that dim chaos of old forest and slope again, or face another time that grey blasted heath where the black well yawned deep beside the tumbled bricks and stones. The reservoir will soon be built now, and all those elder secrets will be safe forever under watery fathoms. But even then I do not believe I would like to visit that country by night—at least, not when the sinister stars are out; and nothing could bribe me to drink the new city water of Arkham. It all began, old Ammi said, with the meteorite. Before that time there had been no wild legends at all since the witch trials, and even then these western woods were not feared half so much as the small island in the Miskatonic where the devil held court beside a curious stone altar older than the Indians. These were not haunted woods, and their fantastic dusk was never terrible till the strange days. Then there had come that white noontide cloud, that string of explosions in the air, and that pillar of smoke from the valley far in the wood. And by night all Arkham had heard of the great rock that fell out of the sky and bedded itself in the ground beside the well at the Nahum Gardner place. That was the house which had stood where the blasted heath was to come—the trim white Nahum Gardner house amidst its fertile gardens and orchards. Nahum had come to town to tell people about the stone, and had dropped in at Ammi Pierce’s on the way. Ammi was forty then, and all the queer things were fixed very strongly in his mind. He and his wife had gone with the three professors from Miskatonic University who hastened out the next morning to see the weird visitor from unknown stellar space, and had wondered why Nahum had called it so large the day before. It had shrunk, Nahum said as he pointed out the big brownish mound above the ripped earth and charred grass near the archaic well-sweep in his front yard; but the wise men answered that stones do not shrink. Its heat lingered persistently, and Nahum declared it had glowed faintly in the night. The professors tried it with a geologist’s hammer and found it was oddly soft. It was, in truth, so soft as to be almost plastic; and they gouged rather than chipped a specimen to take back to the college for testing. They took it in an old pail borrowed from Nahum’s kitchen, for even the small piece refused to grow cool. On the trip back they stopped at Ammi’s to rest, and seemed thoughtful when Mrs. Pierce remarked that the fragment was growing smaller and burning the bottom of the pail. Truly, it was not large, but perhaps they had taken less than they thought. The day after that—all this was in June of ’82—the professors had trooped out again in a great excitement. As they passed Ammi’s they told him what queer things the specimen had done, and how it had faded wholly away when they put it in a glass beaker. The beaker had gone, too, and the wise men talked of the strange stone’s affinity for silicon. It had acted quite unbelievably in that well-ordered laboratory; doing nothing at all and shewing no occluded gases when heated on charcoal, being wholly negative in the borax bead, and soon proving itself absolutely non-volatile at any producible temperature, including that of the oxy-hydrogen blowpipe. On an anvil it appeared highly malleable, and in the dark its luminosity was very marked. Stubbornly refusing to grow cool, it soon had the college in a state of real excitement; and when upon heating before the spectroscope it displayed shining bands unlike any known colours of the normal spectrum there was much breathless talk of new elements, bizarre optical properties, and other things which puzzled men of science are wont to say when faced by the unknown. Hot as it was, they tested it in a crucible with all the proper reagents. Water did nothing. Hydrochloric acid was the same. Nitric acid and even aqua regia merely hissed and spattered against its torrid invulnerability. Ammi had difficulty in recalling all these things, but recognised some solvents as I mentioned them in the usual order of use. There were ammonia and caustic soda, alcohol and ether, nauseous carbon disulphide and a dozen others; but although the weight grew steadily less as time passed, and the fragment seemed to be slightly cooling, there was no change in the solvents to shew that they had attacked the substance at all. It was a metal, though, beyond a doubt. It was magnetic, for one thing; and after its immersion in the acid solvents there seemed to be faint traces of the Widmannstätten figures found on meteoric iron. When the cooling had grown very considerable, the testing was carried on in glass; and it was in a glass beaker that they left all the chips made of the original fragment during the work. The next morning both chips and beaker were gone without trace, and only a charred spot marked the place on the wooden shelf where they had been. All this the professors told Ammi as they paused at his door, and once more he went with them to see the stony messenger from the stars, though this time his wife did not accompany him. It had now most certainly shrunk, and even the sober professors could not doubt the truth of what they saw. All around the dwindling brown lump near the well was a vacant space, except where the earth had caved in; and whereas it had been a good seven feet across the day before, it was now scarcely five. It was still hot, and the sages studied its surface curiously as they detached another and larger piece with hammer and chisel. They gouged deeply this time, and as they pried away the smaller mass they saw that the core of the thing was not quite homogeneous. They had uncovered what seemed to be the side of a large coloured globule imbedded in the substance. The colour, which resembled some of the bands in the meteor’s strange spectrum, was almost impossible to describe; and it was only by analogy that they called it colour at all. Its texture was glossy, and upon tapping it appeared to promise both brittleness and hollowness. One of the professors gave it a smart blow with a hammer, and it burst with a nervous little pop. Nothing was emitted, and all trace of the thing vanished with the puncturing. It left behind a hollow spherical space about three inches across, and all thought it probable that others would be discovered as the enclosing substance wasted away. Conjecture was vain; so after a futile attempt to find additional globules by drilling, the seekers left again with their new specimen—which proved, however, as baffling in the laboratory as its predecessor had been. Aside from being almost plastic, having heat, magnetism, and slight luminosity, cooling slightly in powerful acids, possessing an unknown spectrum, wasting away in air, and attacking silicon compounds with mutual destruction as a result, it presented no identifying features whatsoever; and at the end of the tests the college scientists were forced to own that they could not place it. It was nothing of this earth, but a piece of the great outside; and as such dowered with outside properties and obedient to outside laws. That night there was a thunderstorm, and when the professors went out to Nahum’s the next day they met with a bitter disappointment. The stone, magnetic as it had been, must have had some peculiar electrical property; for it had “drawn the lightning”, as Nahum said, with a singular persistence. Six times within an hour the farmer saw the lightning strike the furrow in the front yard, and when the storm was over nothing remained but a ragged pit by the ancient well-sweep, half-choked with caved-in earth. Digging had borne no fruit, and the scientists verified the fact of the utter vanishment. The failure was total; so that nothing was left to do but go back to the laboratory and test again the disappearing fragment left carefully cased in lead. That fragment lasted a week, at the end of which nothing of value had been learned of it. When it had gone, no residue was left behind, and in time the professors felt scarcely sure they had indeed seen with waking eyes that cryptic vestige of the fathomless gulfs outside; that lone, weird message from other universes and other realms of matter, force, and entity. As was natural, the Arkham papers made much of the incident with its collegiate sponsoring, and sent reporters to talk with Nahum Gardner and his family. At least one Boston daily also sent a scribe, and Nahum quickly became a kind of local celebrity. He was a lean, genial person of about fifty, living with his wife and three sons on the pleasant farmstead in the valley. He and Ammi exchanged visits frequently, as did their wives; and Ammi had nothing but praise for him after all these years. He seemed slightly proud of the notice his place had attracted, and talked often of the meteorite in the succeeding weeks. That July and August were hot, and Nahum worked hard at his haying in the ten-acre pasture across Chapman’s Brook; his rattling wain wearing deep ruts in the shadowy lanes between. The labour tired him more than it had in other years, and he felt that age was beginning to tell on him. Then fell the time of fruit and harvest. The pears and apples slowly ripened, and Nahum vowed that his orchards were prospering as never before. The fruit was growing to phenomenal size and unwonted gloss, and in such abundance that extra barrels were ordered to handle the future crop. But with the ripening came sore disappointment; for of all that gorgeous array of specious lusciousness not one single jot was fit to eat. Into the fine flavour of the pears and apples had crept a stealthy bitterness and sickishness, so that even the smallest of bites induced a lasting disgust. It was the same with the melons and tomatoes, and Nahum sadly saw that his entire crop was lost. Quick to connect events, he declared that the meteorite had poisoned the soil, and thanked heaven that most of the other crops were in the upland lot along the road. Winter came early, and was very cold. Ammi saw Nahum less often than usual, and observed that he had begun to look worried. The rest of his family, too, seemed to have grown taciturn; and were far from steady in their churchgoing or their attendance at the various social events of the countryside. For this reserve or melancholy no cause could be found, though all the household confessed now and then to poorer health and a feeling of vague disquiet. Nahum himself gave the most definite statement of anyone when he said he was disturbed about certain footprints in the snow. They were the usual winter prints of red squirrels, white rabbits, and foxes, but the brooding farmer professed to see something not quite right about their nature and arrangement. He was never specific, but appeared to think that they were not as characteristic of the anatomy and habits of squirrels and rabbits and foxes as they ought to be. Ammi listened without interest to this talk until one night when he drove past Nahum’s house in his sleigh on the way back from Clark’s Corners. There had been a moon, and a rabbit had run across the road, and the leaps of that rabbit were longer than either Ammi or his horse liked. The latter, indeed, had almost run away when brought up by a firm rein. Thereafter Ammi gave Nahum’s tales more respect, and wondered why the Gardner dogs seemed so cowed and quivering every morning. They had, it developed, nearly lost the spirit to bark. In February the McGregor boys from Meadow Hill were out shooting woodchucks, and not far from the Gardner place bagged a very peculiar specimen. The proportions of its body seemed slightly altered in a queer way impossible to describe, while its face had taken on an expression which no one ever saw in a woodchuck before. The boys were genuinely frightened, and threw the thing away at once, so that only their grotesque tales of it ever reached the people of the countryside. But the shying of the horses near Nahum’s house had now become an acknowledged thing, and all the basis for a cycle of whispered legend was fast taking form. People vowed that the snow melted faster around Nahum’s than it did anywhere else, and early in March there was an awed discussion in Potter’s general store at Clark’s Corners. Stephen Rice had driven past Gardner’s in the morning, and had noticed the skunk-cabbages coming up through the mud by the woods across the road. Never were things of such size seen before, and they held strange colours that could not be put into any words. Their shapes were monstrous, and the horse had snorted at an odour which struck Stephen as wholly unprecedented. That afternoon several persons drove past to see the abnormal growth, and all agreed that plants of that kind ought never to sprout in a healthy world. The bad fruit of the fall before was freely mentioned, and it went from mouth to mouth that there was poison in Nahum’s ground. Of course it was the meteorite; and remembering how strange the men from the college had found that stone to be, several farmers spoke about the matter to them. One day they paid Nahum a visit; but having no love of wild tales and folklore were very conservative in what they inferred. The plants were certainly odd, but all skunk-cabbages are more or less odd in shape and odour and hue. Perhaps some mineral element from the stone had entered the soil, but it would soon be washed away. And as for the footprints and frightened horses—of course this was mere country talk which such a phenomenon as the aërolite would be certain to start. There was really nothing for serious men to do in cases of wild gossip, for superstitious rustics will say and believe anything. And so all through the strange days the professors stayed away in contempt. Only one of them, when given two phials of dust for analysis in a police job over a year and a half later, recalled that the queer colour of that skunk-cabbage had been very like one of the anomalous bands of light shewn by the meteor fragment in the college spectroscope, and like the brittle globule found imbedded in the stone from the abyss. The samples in this analysis case gave the same odd bands at first, though later they lost the property. The trees budded prematurely around Nahum’s, and at night they swayed ominously in the wind. Nahum’s second son Thaddeus, a lad of fifteen, swore that they swayed also when there was no wind; but even the gossips would not credit this. Certainly, however, restlessness was in the air. The entire Gardner family developed the habit of stealthy listening, though not for any sound which they could consciously name. The listening was, indeed, rather a product of moments when consciousness seemed half to slip away. Unfortunately such moments increased week by week, till it became common speech that “something was wrong with all Nahum’s folks”. When the early saxifrage came out it had another strange colour; not quite like that of the skunk-cabbage, but plainly related and equally unknown to anyone who saw it. Nahum took some blossoms to Arkham and shewed them to the editor of the Gazette, but that dignitary did no more than write a humorous article about them, in which the dark fears of rustics were held up to polite ridicule. It was a mistake of Nahum’s to tell a stolid city man about the way the great, overgrown mourning-cloak butterflies behaved in connexion with these saxifrages. April brought a kind of madness to the country folk, and began that disuse of the road past Nahum’s which led to its ultimate abandonment. It was the vegetation. All the orchard trees blossomed forth in strange colours, and through the stony soil of the yard and adjacent pasturage there sprang up a bizarre growth which only a botanist could connect with the proper flora of the region. No sane wholesome colours were anywhere to be seen except in the green grass and leafage; but everywhere those hectic and prismatic variants of some diseased, underlying primary tone without a place among the known tints of earth. The Dutchman’s breeches became a thing of sinister menace, and the bloodroots grew insolent in their chromatic perversion. Ammi and the Gardners thought that most of the colours had a sort of haunting familiarity, and decided that they reminded one of the brittle globule in the meteor. Nahum ploughed and sowed the ten-acre pasture and the upland lot, but did nothing with the land around the house. He knew it would be of no use, and hoped that the summer’s strange growths would draw all the poison from the soil. He was prepared for almost anything now, and had grown used to the sense of something near him waiting to be heard. The shunning of his house by neighbours told on him, of course; but it told on his wife more. The boys were better off, being at school each day; but they could not help being frightened by the gossip. Thaddeus, an especially sensitive youth, suffered the most. In May the insects came, and Nahum’s place became a nightmare of buzzing and crawling. Most of the creatures seemed not quite usual in their aspects and motions, and their nocturnal habits contradicted all former experience. The Gardners took to watching at night—watching in all directions at random for something... they could not tell what. It was then that they all owned that Thaddeus had been right about the trees. Mrs. Gardner was the next to see it from the window as she watched the swollen boughs of a maple against a moonlit sky. The boughs surely moved, and there was no wind. It must be the sap. Strangeness had come into everything growing now. Yet it was none of Nahum’s family at all who made the next discovery. Familiarity had dulled them, and what they could not see was glimpsed by a timid windmill salesman from Bolton who drove by one night in ignorance of the country legends. What he told in Arkham was given a short paragraph in the Gazette; and it was there that all the farmers, Nahum included, saw it first. The night had been dark and the buggy-lamps faint, but around a farm in the valley which everyone knew from the account must be Nahum’s the darkness had been less thick. A dim though distinct luminosity seemed to inhere in all the vegetation, grass, leaves, and blossoms alike, while at one moment a detached piece of the phosphorescence appeared to stir furtively in the yard near the barn. The grass had so far seemed untouched, and the cows were freely pastured in the lot near the house, but toward the end of May the milk began to be bad. Then Nahum had the cows driven to the uplands, after which the trouble ceased. Not long after this the change in grass and leaves became apparent to the eye. All the verdure was going grey, and was developing a highly singular quality of brittleness. Ammi was now the only person who ever visited the place, and his visits were becoming fewer and fewer. When school closed the Gardners were virtually cut off from the world, and sometimes let Ammi do their errands in town. They were failing curiously both physically and mentally, and no one was surprised when the news of Mrs. Gardner’s madness stole around. It happened in June, about the anniversary of the meteor’s fall, and the poor woman screamed about things in the air which she could not describe. In her raving there was not a single specific noun, but only verbs and pronouns. Things moved and changed and fluttered, and ears tingled to impulses which were not wholly sounds. Something was taken away—she was being drained of something—something was fastening itself on her that ought not to be—someone must make it keep off—nothing was ever still in the night—the walls and windows shifted. Nahum did not send her to the county asylum, but let her wander about the house as long as she was harmless to herself and others. Even when her expression changed he did nothing. But when the boys grew afraid of her, and Thaddeus nearly fainted at the way she made faces at him, he decided to keep her locked in the attic. By July she had ceased to speak and crawled on all fours, and before that month was over Nahum got the mad notion that she was slightly luminous in the dark, as he now clearly saw was the case with the nearby vegetation. It was a little before this that the horses had stampeded. Something had aroused them in the night, and their neighing and kicking in their stalls had been terrible. There seemed virtually nothing to do to calm them, and when Nahum opened the stable door they all bolted out like frightened woodland deer. It took a week to track all four, and when found they were seen to be quite useless and unmanageable. Something had snapped in their brains, and each one had to be shot for its own good. Nahum borrowed a horse from Ammi for his haying, but found it would not approach the barn. It shied, balked, and whinnied, and in the end he could do nothing but drive it into the yard while the men used their own strength to get the heavy wagon near enough the hayloft for convenient pitching. And all the while the vegetation was turning grey and brittle. Even the flowers whose hues had been so strange were greying now, and the fruit was coming out grey and dwarfed and tasteless. The asters and goldenrod bloomed grey and distorted, and the roses and zinneas and hollyhocks in the front yard were such blasphemous-looking things that Nahum’s oldest boy Zenas cut them down. The strangely puffed insects died about that time, even the bees that had left their hives and taken to the woods. By September all the vegetation was fast crumbling to a greyish powder, and Nahum feared that the trees would die before the poison was out of the soil. His wife now had spells of terrific screaming, and he and the boys were in a constant state of nervous tension. They shunned people now, and when school opened the boys did not go. But it was Ammi, on one of his rare visits, who first realised that the well water was no longer good. It had an evil taste that was not exactly foetid nor exactly salty, and Ammi advised his friend to dig another well on higher ground to use till the soil was good again. Nahum, however, ignored the warning, for he had by that time become calloused to strange and unpleasant things. He and the boys continued to use the tainted supply, drinking it as listlessly and mechanically as they ate their meagre and ill-cooked meals and did their thankless and monotonous chores through the aimless days. There was something of stolid resignation about them all, as if they walked half in another world between lines of nameless guards to a certain and familiar doom. Thaddeus went mad in September after a visit to the well. He had gone with a pail and had come back empty-handed, shrieking and waving his arms, and sometimes lapsing into an inane titter or a whisper about “the moving colours down there”. Two in one family was pretty bad, but Nahum was very brave about it. He let the boy run about for a week until he began stumbling and hurting himself, and then he shut him in an attic room across the hall from his mother’s. The way they screamed at each other from behind their locked doors was very terrible, especially to little Merwin, who fancied they talked in some terrible language that was not of earth. Merwin was getting frightfully imaginative, and his restlessness was worse after the shutting away of the brother who had been his greatest playmate. Almost at the same time the mortality among the livestock commenced. Poultry turned greyish and died very quickly, their meat being found dry and noisome upon cutting. Hogs grew inordinately fat, then suddenly began to undergo loathsome changes which no one could explain. Their meat was of course useless, and Nahum was at his wit’s end. No rural veterinary would approach his place, and the city veterinary from Arkham was openly baffled. The swine began growing grey and brittle and falling to pieces before they died, and their eyes and muzzles developed singular alterations. It was very inexplicable, for they had never been fed from the tainted vegetation. Then something struck the cows. Certain areas or sometimes the whole body would be uncannily shrivelled or compressed, and atrocious collapses or disintegrations were common. In the last stages—and death was always the result—there would be a greying and turning brittle like that which beset the hogs. There could be no question of poison, for all the cases occurred in a locked and undisturbed barn. No bites of prowling things could have brought the virus, for what live beast of earth can pass through solid obstacles? It must be only natural disease—yet what disease could wreak such results was beyond any mind’s guessing. When the harvest came there was not an animal surviving on the place, for the stock and poultry were dead and the dogs had run away. These dogs, three in number, had all vanished one night and were never heard of again. The five cats had left some time before, but their going was scarcely noticed since there now seemed to be no mice, and only Mrs. Gardner had made pets of the graceful felines. On the nineteenth of October Nahum staggered into Ammi’s house with hideous news. The death had come to poor Thaddeus in his attic room, and it had come in a way which could not be told. Nahum had dug a grave in the railed family plot behind the farm, and had put therein what he found. There could have been nothing from outside, for the small barred window and locked door were intact; but it was much as it had been in the barn. Ammi and his wife consoled the stricken man as best they could, but shuddered as they did so. Stark terror seemed to cling round the Gardners and all they touched, and the very presence of one in the house was a breath from regions unnamed and unnamable. Ammi accompanied Nahum home with the greatest reluctance, and did what he might to calm the hysterical sobbing of little Merwin. Zenas needed no calming. He had come of late to do nothing but stare into space and obey what his father told him; and Ammi thought that his fate was very merciful. Now and then Merwin’s screams were answered faintly from the attic, and in response to an inquiring look Nahum said that his wife was getting very feeble. When night approached, Ammi managed to get away; for not even friendship could make him stay in that spot when the faint glow of the vegetation began and the trees may or may not have swayed without wind. It was really lucky for Ammi that he was not more imaginative. Even as things were, his mind was bent ever so slightly; but had he been able to connect and reflect upon all the portents around him he must inevitably have turned a total maniac. In the twilight he hastened home, the screams of the mad woman and the nervous child ringing horribly in his ears. Three days later Nahum lurched into Ammi’s kitchen in the early morning, and in the absence of his host stammered out a desperate tale once more, while Mrs. Pierce listened in a clutching fright. It was little Merwin this time. He was gone. He had gone out late at night with a lantern and pail for water, and had never come back. He’d been going to pieces for days, and hardly knew what he was about. Screamed at everything. There had been a frantic shriek from the yard then, but before the father could get to the door, the boy was gone. There was no glow from the lantern he had taken, and of the child himself no trace. At the time Nahum thought the lantern and pail were gone too; but when dawn came, and the man had plodded back from his all-night search of the woods and fields, he had found some very curious things near the well. There was a crushed and apparently somewhat melted mass of iron which had certainly been the lantern; while a bent bail and twisted iron hoops beside it, both half-fused, seemed to hint at the remnants of the pail. That was all. Nahum was past imagining, Mrs. Pierce was blank, and Ammi, when he had reached home and heard the tale, could give no guess. Merwin was gone, and there would be no use in telling the people around, who shunned all Gardners now. No use, either, in telling the city people at Arkham who laughed at everything. Thad was gone, and now Merwin was gone. Something was creeping and creeping and waiting to be seen and felt and heard. Nahum would go soon, and he wanted Ammi to look after his wife and Zenas if they survived him. It must all be a judgment of some sort; though he could not fancy what for, since he had always walked uprightly in the Lord’s ways so far as he knew. For over two weeks Ammi saw nothing of Nahum; and then, worried about what might have happened, he overcame his fears and paid the Gardner place a visit. There was no smoke from the great chimney, and for a moment the visitor was apprehensive of the worst. The aspect of the whole farm was shocking—greyish withered grass and leaves on the ground, vines falling in brittle wreckage from archaic walls and gables, and great bare trees clawing up at the grey November sky with a studied malevolence which Ammi could not but feel had come from some subtle change in the tilt of the branches. But Nahum was alive, after all. He was weak, and lying on a couch in the low-ceiled kitchen, but perfectly conscious and able to give simple orders to Zenas. The room was deadly cold; and as Ammi visibly shivered, the host shouted huskily to Zenas for more wood. Wood, indeed, was sorely needed; since the cavernous fireplace was unlit and empty, with a cloud of soot blowing about in the chill wind that came down the chimney. Presently Nahum asked him if the extra wood had made him any more comfortable, and then Ammi saw what had happened. The stoutest cord had broken at last, and the hapless farmer’s mind was proof against more sorrow. Questioning tactfully, Ammi could get no clear data at all about the missing Zenas. “In the well—he lives in the well—” was all that the clouded father would say. Then there flashed across the visitor’s mind a sudden thought of the mad wife, and he changed his line of inquiry. “Nabby? Why, here she is! ” was the surprised response of poor Nahum, and Ammi soon saw that he must search for himself. Leaving the harmless babbler on the couch, he took the keys from their nail beside the door and climbed the creaking stairs to the attic. It was very close and noisome up there, and no sound could be heard from any direction. Of the four doors in sight, only one was locked, and on this he tried various keys on the ring he had taken. The third key proved the right one, and after some fumbling Ammi threw open the low white door. It was quite dark inside, for the window was small and half-obscured by the crude wooden bars; and Ammi could see nothing at all on the wide-planked floor. The stench was beyond enduring, and before proceeding further he had to retreat to another room and return with his lungs filled with breathable air. When he did enter he saw something dark in the corner, and upon seeing it more clearly he screamed outright. While he screamed he thought a momentary cloud eclipsed the window, and a second later he felt himself brushed as if by some hateful current of vapour. Strange colours danced before his eyes; and had not a present horror numbed him he would have thought of the globule in the meteor that the geologist’s hammer had shattered, and of the morbid vegetation that had sprouted in the spring. As it was he thought only of the blasphemous monstrosity which confronted him, and which all too clearly had shared the nameless fate of young Thaddeus and the livestock. But the terrible thing about this horror was that it very slowly and perceptibly moved as it continued to crumble. Ammi would give me no added particulars to this scene, but the shape in the corner does not reappear in his tale as a moving object. There are things which cannot be mentioned, and what is done in common humanity is sometimes cruelly judged by the law. I gathered that no moving thing was left in that attic room, and that to leave anything capable of motion there would have been a deed so monstrous as to damn any accountable being to eternal torment. Anyone but a stolid farmer would have fainted or gone mad, but Ammi walked conscious through that low doorway and locked the accursed secret behind him. There would be Nahum to deal with now; he must be fed and tended, and removed to some place where he could be cared for. Commencing his descent of the dark stairs, Ammi heard a thud below him. He even thought a scream had been suddenly choked off, and recalled nervously the clammy vapour which had brushed by him in that frightful room above. What presence had his cry and entry started up? Halted by some vague fear, he heard still further sounds below. Indubitably there was a sort of heavy dragging, and a most detestably sticky noise as of some fiendish and unclean species of suction. With an associative sense goaded to feverish heights, he thought unaccountably of what he had seen upstairs. Good God! What eldritch dream-world was this into which he had blundered? He dared move neither backward nor forward, but stood there trembling at the black curve of the boxed-in staircase. Every trifle of the scene burned itself into his brain. The sounds, the sense of dread expectancy, the darkness, the steepness of the narrow steps—and merciful heaven!... the faint but unmistakable luminosity of all the woodwork in sight; steps, sides, exposed laths, and beams alike! Then there burst forth a frantic whinny from Ammi’s horse outside, followed at once by a clatter which told of a frenzied runaway. In another moment horse and buggy had gone beyond earshot, leaving the frightened man on the dark stairs to guess what had sent them. But that was not all. There had been another sound out there. A sort of liquid splash—water—it must have been the well. He had left Hero untied near it, and a buggy-wheel must have brushed the coping and knocked in a stone. And still the pale phosphorescence glowed in that detestably ancient woodwork. God! how old the house was! Most of it built before 1670, and the gambrel roof not later than 1730. A feeble scratching on the floor downstairs now sounded distinctly, and Ammi’s grip tightened on a heavy stick he had picked up in the attic for some purpose. Slowly nerving himself, he finished his descent and walked boldly toward the kitchen. But he did not complete the walk, because what he sought was no longer there. It had come to meet him, and it was still alive after a fashion. Whether it had crawled or whether it had been dragged by any external force, Ammi could not say; but the death had been at it. Everything had happened in the last half-hour, but collapse, greying, and disintegration were already far advanced. There was a horrible brittleness, and dry fragments were scaling off. Ammi could not touch it, but looked horrifiedly into the distorted parody that had been a face. “What was it, Nahum—what was it? ” he whispered, and the cleft, bulging lips were just able to crackle out a final answer. “Nothin’... nothin’... the colour... it burns... cold an’ wet... but it burns... it lived in the well... I seen it... a kind o’ smoke... jest like the flowers last spring... the well shone at night... Thad an’ Mernie an’ Zenas... everything alive... suckin’ the life out of everything... in that stone... it must a’ come in that stone... pizened the whole place... dun’t know what it wants... that round thing them men from the college dug outen the stone... they smashed it... it was that same colour... jest the same, like the flowers an’ plants... must a’ ben more of ’em... seeds... seeds... they growed... I seen it the fust time this week... must a’ got strong on Zenas... he was a big boy, full o’ life... it beats down your mind an’ then gits ye... burns ye up... in the well water... you was right about that... evil water... Zenas never come back from the well... can’t git away... draws ye... ye know summ’at’s comin’, but ’tain’t no use... I seen it time an’ agin senct Zenas was took... whar’s Nabby, Ammi?... my head’s no good... dun’t know how long senct I fed her... it’ll git her ef we ain’t keerful... jest a colour... her face is gettin’ to hev that colour sometimes towards night... an’ it burns an’ sucks... it come from some place whar things ain’t as they is here... one o’ them professors said so... he was right... look out, Ammi, it’ll do suthin’ more... sucks the life out.... ” But that was all. That which spoke could speak no more because it had completely caved in. Ammi laid a red checked tablecloth over what was left and reeled out the back door into the fields. He climbed the slope to the ten-acre pasture and stumbled home by the north road and the woods. He could not pass that well from which his horse had run away. He had looked at it through the window, and had seen that no stone was missing from the rim. Then the lurching buggy had not dislodged anything after all—the splash had been something else—something which went into the well after it had done with poor Nahum.... When Ammi reached his house the horse and buggy had arrived before him and thrown his wife into fits of anxiety. Reassuring her without explanations, he set out at once for Arkham and notified the authorities that the Gardner family was no more. He indulged in no details, but merely told of the deaths of Nahum and Nabby, that of Thaddeus being already known, and mentioned that the cause seemed to be the same strange ailment which had killed the livestock. He also stated that Merwin and Zenas had disappeared. There was considerable questioning at the police station, and in the end Ammi was compelled to take three officers to the Gardner farm, together with the coroner, the medical examiner, and the veterinary who had treated the diseased animals. He went much against his will, for the afternoon was advancing and he feared the fall of night over that accursed place, but it was some comfort to have so many people with him. The six men drove out in a democrat-wagon, following Ammi’s buggy, and arrived at the pest-ridden farmhouse about four o’clock. Used as the officers were to gruesome experiences, not one remained unmoved at what was found in the attic and under the red checked tablecloth on the floor below. The whole aspect of the farm with its grey desolation was terrible enough, but those two crumbling objects were beyond all bounds. No one could look long at them, and even the medical examiner admitted that there was very little to examine. Specimens could be analysed, of course, so he busied himself in obtaining them—and here it develops that a very puzzling aftermath occurred at the college laboratory where the two phials of dust were finally taken. Under the spectroscope both samples gave off an unknown spectrum, in which many of the baffling bands were precisely like those which the strange meteor had yielded in the previous year. The property of emitting this spectrum vanished in a month, the dust thereafter consisting mainly of alkaline phosphates and carbonates. Ammi would not have told the men about the well if he had thought they meant to do anything then and there. It was getting toward sunset, and he was anxious to be away. But he could not help glancing nervously at the stony curb by the great sweep, and when a detective questioned him he admitted that Nahum had feared something down there—so much so that he had never even thought of searching it for Merwin or Zenas. After that nothing would do but that they empty and explore the well immediately, so Ammi had to wait trembling while pail after pail of rank water was hauled up and splashed on the soaking ground outside. The men sniffed in disgust at the fluid, and toward the last held their noses against the foetor they were uncovering. It was not so long a job as they had feared it would be, since the water was phenomenally low. There is no need to speak too exactly of what they found. Merwin and Zenas were both there, in part, though the vestiges were mainly skeletal. There were also a small deer and a large dog in about the same state, and a number of bones of smaller animals. The ooze and slime at the bottom seemed inexplicably porous and bubbling, and a man who descended on hand-holds with a long pole found that he could sink the wooden shaft to any depth in the mud of the floor without meeting any solid obstruction. Twilight had now fallen, and lanterns were brought from the house. Then, when it was seen that nothing further could be gained from the well, everyone went indoors and conferred in the ancient sitting-room while the intermittent light of a spectral half-moon played wanly on the grey desolation outside. The men were frankly nonplussed by the entire case, and could find no convincing common element to link the strange vegetable conditions, the unknown disease of livestock and humans, and the unaccountable deaths of Merwin and Zenas in the tainted well. They had heard the common country talk, it is true; but could not believe that anything contrary to natural law had occurred. No doubt the meteor had poisoned the soil, but the illness of persons and animals who had eaten nothing grown in that soil was another matter. Was it the well water? Very possibly. It might be a good idea to analyse it. But what peculiar madness could have made both boys jump into the well? Their deeds were so similar—and the fragments shewed that they had both suffered from the grey brittle death. Why was everything so grey and brittle? It was the coroner, seated near a window overlooking the yard, who first noticed the glow about the well. Night had fully set in, and all the abhorrent grounds seemed faintly luminous with more than the fitful moonbeams; but this new glow was something definite and distinct, and appeared to shoot up from the black pit like a softened ray from a searchlight, giving dull reflections in the little ground pools where the water had been emptied. It had a very queer colour, and as all the men clustered round the window Ammi gave a violent start. For this strange beam of ghastly miasma was to him of no unfamiliar hue. He had seen that colour before, and feared to think what it might mean. He had seen it in the nasty brittle globule in that aërolite two summers ago, had seen it in the crazy vegetation of the springtime, and had thought he had seen it for an instant that very morning against the small barred window of that terrible attic room where nameless things had happened. It had flashed there a second, and a clammy and hateful current of vapour had brushed past him—and then poor Nahum had been taken by something of that colour. He had said so at the last—said it was the globule and the plants. After that had come the runaway in the yard and the splash in the well—and now that well was belching forth to the night a pale insidious beam of the same daemoniac tint. It does credit to the alertness of Ammi’s mind that he puzzled even at that tense moment over a point which was essentially scientific. He could not but wonder at his gleaning of the same impression from a vapour glimpsed in the daytime, against a window opening on the morning sky, and from a nocturnal exhalation seen as a phosphorescent mist against the black and blasted landscape. It wasn’t right—it was against Nature—and he thought of those terrible last words of his stricken friend, “It come from some place whar things ain’t as they is here... one o’ them professors said so.... ” All three horses outside, tied to a pair of shrivelled saplings by the road, were now neighing and pawing frantically. The wagon driver started for the door to do something, but Ammi laid a shaky hand on his shoulder. “Dun’t go out thar, ” he whispered. “They’s more to this nor what we know. Nahum said somethin’ lived in the well that sucks your life out. He said it must be some’at growed from a round ball like one we all seen in the meteor stone that fell a year ago June. Sucks an’ burns, he said, an’ is jest a cloud of colour like that light out thar now, that ye can hardly see an’ can’t tell what it is. Nahum thought it feeds on everything livin’ an’ gits stronger all the time. He said he seen it this last week. It must be somethin’ from away off in the sky like the men from the college last year says the meteor stone was. The way it’s made an’ the way it works ain’t like no way o’ God’s world. It’s some’at from beyond. ” So the men paused indecisively as the light from the well grew stronger and the hitched horses pawed and whinnied in increasing frenzy. It was truly an awful moment; with terror in that ancient and accursed house itself, four monstrous sets of fragments—two from the house and two from the well—in the woodshed behind, and that shaft of unknown and unholy iridescence from the slimy depths in front. Ammi had restrained the driver on impulse, forgetting how uninjured he himself was after the clammy brushing of that coloured vapour in the attic room, but perhaps it is just as well that he acted as he did. No one will ever know what was abroad that night; and though the blasphemy from beyond had not so far hurt any human of unweakened mind, there is no telling what it might not have done at that last moment, and with its seemingly increased strength and the special signs of purpose it was soon to display beneath the half-clouded moonlit sky. All at once one of the detectives at the window gave a short, sharp gasp. The others looked at him, and then quickly followed his own gaze upward to the point at which its idle straying had been suddenly arrested. There was no need for words. What had been disputed in country gossip was disputable no longer, and it is because of the thing which every man of that party agreed in whispering later on that the strange days are never talked about in Arkham. It is necessary to premise that there was no wind at that hour of the evening. One did arise not long afterward, but there was absolutely none then. Even the dry tips of the lingering hedge-mustard, grey and blighted, and the fringe on the roof of the standing democrat-wagon were unstirred. And yet amid that tense, godless calm the high bare boughs of all the trees in the yard were moving. They were twitching morbidly and spasmodically, clawing in convulsive and epileptic madness at the moonlit clouds; scratching impotently in the noxious air as if jerked by some alien and bodiless line of linkage with subterrene horrors writhing and struggling below the black roots. Not a man breathed for several seconds. Then a cloud of darker depth passed over the moon, and the silhouette of clutching branches faded out momentarily. At this there was a general cry; muffled with awe, but husky and almost identical from every throat. For the terror had not faded with the silhouette, and in a fearsome instant of deeper darkness the watchers saw wriggling at that treetop height a thousand tiny points of faint and unhallowed radiance, tipping each bough like the fire of St. Elmo or the flames that came down on the apostles’ heads at Pentecost. It was a monstrous constellation of unnatural light, like a glutted swarm of corpse-fed fireflies dancing hellish sarabands over an accursed marsh; and its colour was that same nameless intrusion which Ammi had come to recognise and dread. All the while the shaft of phosphorescence from the well was getting brighter and brighter, bringing to the minds of the huddled men a sense of doom and abnormality which far outraced any image their conscious minds could form. It was no longer shining out, it was pouring out; and as the shapeless stream of unplaceable colour left the well it seemed to flow directly into the sky. The veterinary shivered, and walked to the front door to drop the heavy extra bar across it. Ammi shook no less, and had to tug and point for lack of a controllable voice when he wished to draw notice to the growing luminosity of the trees. The neighing and stamping of the horses had become utterly frightful, but not a soul of that group in the old house would have ventured forth for any earthly reward. With the moments the shining of the trees increased, while their restless branches seemed to strain more and more toward verticality. The wood of the well-sweep was shining now, and presently a policeman dumbly pointed to some wooden sheds and bee-hives near the stone wall on the west. They were commencing to shine, too, though the tethered vehicles of the visitors seemed so far unaffected. Then there was a wild commotion and clopping in the road, and as Ammi quenched the lamp for better seeing they realised that the span of frantic greys had broke their sapling and run off with the democrat-wagon. The shock served to loosen several tongues, and embarrassed whispers were exchanged. “It spreads on everything organic that’s been around here, ” muttered the medical examiner. No one replied, but the man who had been in the well gave a hint that his long pole must have stirred up something intangible. “It was awful, ” he added. “There was no bottom at all. Just ooze and bubbles and the feeling of something lurking under there. ” Ammi’s horse still pawed and screamed deafeningly in the road outside, and nearly drowned its owner’s faint quaver as he mumbled his formless reflections. “It come from that stone... it growed down thar... it got everything livin’... it fed itself on ’em, mind and body... Thad an’ Mernie, Zenas an’ Nabby... Nahum was the last... they all drunk the water... it got strong on ’em... it come from beyond, whar things ain’t like they be here... now it’s goin’ home.... ” At this point, as the column of unknown colour flared suddenly stronger and began to weave itself into fantastic suggestions of shape which each spectator later described differently, there came from poor tethered Hero such a sound as no man before or since ever heard from a horse. Every person in that low-pitched sitting room stopped his ears, and Ammi turned away from the window in horror and nausea. Words could not convey it—when Ammi looked out again the hapless beast lay huddled inert on the moonlit ground between the splintered shafts of the buggy. That was the last of Hero till they buried him next day. But the present was no time to mourn, for almost at this instant a detective silently called attention to something terrible in the very room with them. In the absence of the lamplight it was clear that a faint phosphorescence had begun to pervade the entire apartment. It glowed on the broad-planked floor and the fragment of rag carpet, and shimmered over the sashes of the small-paned windows. It ran up and down the exposed corner-posts, coruscated about the shelf and mantel, and infected the very doors and furniture. Each minute saw it strengthen, and at last it was very plain that healthy living things must leave that house. Ammi shewed them the back door and the path up through the fields to the ten-acre pasture. They walked and stumbled as in a dream, and did not dare look back till they were far away on the high ground. They were glad of the path, for they could not have gone the front way, by that well. It was bad enough passing the glowing barn and sheds, and those shining orchard trees with their gnarled, fiendish contours; but thank heaven the branches did their worst twisting high up. The moon went under some very black clouds as they crossed the rustic bridge over Chapman’s Brook, and it was blind groping from there to the open meadows. When they looked back toward the valley and the distant Gardner place at the bottom they saw a fearsome sight. All the farm was shining with the hideous unknown blend of colour; trees, buildings, and even such grass and herbage as had not been wholly changed to lethal grey brittleness. The boughs were all straining skyward, tipped with tongues of foul flame, and lambent tricklings of the same monstrous fire were creeping about the ridgepoles of the house, barn, and sheds. It was a scene from a vision of Fuseli, and over all the rest reigned that riot of luminous amorphousness, that alien and undimensioned rainbow of cryptic poison from the well—seething, feeling, lapping, reaching, scintillating, straining, and malignly bubbling in its cosmic and unrecognisable chromaticism. Then without warning the hideous thing shot vertically up toward the sky like a rocket or meteor, leaving behind no trail and disappearing through a round and curiously regular hole in the clouds before any man could gasp or cry out. No watcher can ever forget that sight, and Ammi stared blankly at the stars of Cygnus, Deneb twinkling above the others, where the unknown colour had melted into the Milky Way. But his gaze was the next moment called swiftly to earth by the crackling in the valley. It was just that. Only a wooden ripping and crackling, and not an explosion, as so many others of the party vowed. Yet the outcome was the same, for in one feverish, kaleidoscopic instant there burst up from that doomed and accursed farm a gleamingly eruptive cataclysm of unnatural sparks and substance; blurring the glance of the few who saw it, and sending forth to the zenith a bombarding cloudburst of such coloured and fantastic fragments as our universe must needs disown. Through quickly re-closing vapours they followed the great morbidity that had vanished, and in another second they had vanished too. Behind and below was only a darkness to which the men dared not return, and all about was a mounting wind which seemed to sweep down in black, frore gusts from interstellar space. It shrieked and howled, and lashed the fields and distorted woods in a mad cosmic frenzy, till soon the trembling party realised it would be no use waiting for the moon to shew what was left down there at Nahum’s. Too awed even to hint theories, the seven shaking men trudged back toward Arkham by the north road. Ammi was worse than his fellows, and begged them to see him inside his own kitchen, instead of keeping straight on to town. He did not wish to cross the nighted, wind-whipped woods alone to his home on the main road. For he had had an added shock that the others were spared, and was crushed forever with a brooding fear he dared not even mention for many years to come. As the rest of the watchers on that tempestuous hill had stolidly set their faces toward the road, Ammi had looked back an instant at the shadowed valley of desolation so lately sheltering his ill-starred friend. And from that stricken, far-away spot he had seen something feebly rise, only to sink down again upon the place from which the great shapeless horror had shot into the sky. It was just a colour—but not any colour of our earth or heavens. And because Ammi recognised that colour, and knew that this last faint remnant must still lurk down there in the well, he has never been quite right since. Ammi would never go near the place again. It is over half a century now since the horror happened, but he has never been there, and will be glad when the new reservoir blots it out. I shall be glad, too, for I do not like the way the sunlight changed colour around the mouth of that abandoned well I passed. I hope the water will always be very deep—but even so, I shall never drink it. I do not think I shall visit the Arkham country hereafter. Three of the men who had been with Ammi returned the next morning to see the ruins by daylight, but there were not any real ruins. Only the bricks of the chimney, the stones of the cellar, some mineral and metallic litter here and there, and the rim of that nefandous well. Save for Ammi’s dead horse, which they towed away and buried, and the buggy which they shortly returned to him, everything that had ever been living had gone. Five eldritch acres of dusty grey desert remained, nor has anything ever grown there since. To this day it sprawls open to the sky like a great spot eaten by acid in the woods and fields, and the few who have ever dared glimpse it in spite of the rural tales have named it “the blasted heath”. The rural tales are queer. They might be even queerer if city men and college chemists could be interested enough to analyse the water from that disused well, or the grey dust that no wind seems ever to disperse. Botanists, too, ought to study the stunted flora on the borders of that spot, for they might shed light on the country notion that the blight is spreading—little by little, perhaps an inch a year. People say the colour of the neighbouring herbage is not quite right in the spring, and that wild things leave queer prints in the light winter snow. Snow never seems quite so heavy on the blasted heath as it is elsewhere. Horses—the few that are left in this motor age—grow skittish in the silent valley; and hunters cannot depend on their dogs too near the splotch of greyish dust. They say the mental influences are very bad, too. Numbers went queer in the years after Nahum’s taking, and always they lacked the power to get away. Then the stronger-minded folk all left the region, and only the foreigners tried to live in the crumbling old homesteads. They could not stay, though; and one sometimes wonders what insight beyond ours their wild, weird stores of whispered magic have given them. Their dreams at night, they protest, are very horrible in that grotesque country; and surely the very look of the dark realm is enough to stir a morbid fancy. No traveller has ever escaped a sense of strangeness in those deep ravines, and artists shiver as they paint thick woods whose mystery is as much of the spirit as of the eye. I myself am curious about the sensation I derived from my one lone walk before Ammi told me his tale. When twilight came I had vaguely wished some clouds would gather, for an odd timidity about the deep skyey voids above had crept into my soul. Do not ask me for my opinion. I do not know—that is all. There was no one but Ammi to question; for Arkham people will not talk about the strange days, and all three professors who saw the aërolite and its coloured globule are dead. There were other globules—depend upon that. One must have fed itself and escaped, and probably there was another which was too late. No doubt it is still down the well—I know there was something wrong with the sunlight I saw above that miasmal brink. The rustics say the blight creeps an inch a year, so perhaps there is a kind of growth or nourishment even now. But whatever daemon hatchling is there, it must be tethered to something or else it would quickly spread. Is it fastened to the roots of those trees that claw the air? One of the current Arkham tales is about fat oaks that shine and move as they ought not to do at night. What it is, only God knows. In terms of matter I suppose the thing Ammi described would be called a gas, but this gas obeyed laws that are not of our cosmos. This was no fruit of such worlds and suns as shine on the telescopes and photographic plates of our observatories. This was no breath from the skies whose motions and dimensions our astronomers measure or deem too vast to measure. It was just a colour out of space—a frightful messenger from unformed realms of infinity beyond all Nature as we know it; from realms whose mere existence stuns the brain and numbs us with the black extra-cosmic gulfs it throws open before our frenzied eyes. I doubt very much if Ammi consciously lied to me, and I do not think his tale was all a freak of madness as the townfolk had forewarned. Something terrible came to the hills and valleys on that meteor, and something terrible—though I know not in what proportion—still remains. I shall be glad to see the water come. Meanwhile I hope nothing will happen to Ammi. He saw so much of the thing—and its influence was so insidious. Why has he never been able to move away? How clearly he recalled those dying words of Nahum’s—“can’t git away... draws ye... ye know summ’at’s comin’, but ’tain’t no use.... ” Ammi is such a good old man—when the reservoir gang gets to work I must write the chief engineer to keep a sharp watch on him. I would hate to think of him as the grey, twisted, brittle monstrosity which persists more and more in troubling my sleep.

A big dose of weirdness and strangeness makes this an enjoyable flick. But is ruined with the typical "everything is destroyed for a five mile radius. but the hero survives hiding under a cardboard box" type ending... shouldve hid in the well. Red is going to be having flashbacks to that one Halloween special. Color Out of Space Free stream new. Great horror movie. Nic Cage as always giving it everything. Fantastic creepy atmosphere. Great practical FX which are really gross at times as they should be. Wonderful use of restrained yet effective CGI as well to show the full spectrum of colour & its effects.
Richard Stanley brings a creepy vibe to this movie & does really well with the limited budget to make it stretch so far.
Supporting cast are all ok as well. Do not expect a mega budget horror movie this is just a very low budget horror made really well on a slow pace to let the story flow & deserves to be very popular!
Cannot wait for the 4K UHD Disc to come out as well buying that as soon as I can for the extra detail 4K brings.

Color Out of Space Free streams. Color Out of Space Free streaming. I liked this movie so much more than I thought I would. I've read the short story, and I knew the gist of what would happen, but they varied things up very nicely. There are some gorgeous creature effects in this film, and some truly horrific stuff that I won't go into detail about. Yes, the film is a little slow at times, but it was so worth the watch. It's a buzzard film that seems perfect for Nicolas cage's perfect style of campy and crazy. I guess it's technically a science fiction movie but the narrative is very experimental, but whenever the story starts to loose me old st. Nick comes in and starts to go bonkers. I feel like it's an acquired test but indeed I like it.

E-Wooders are so proud 💕. Love this hey btw lol almost April or may is when cobra Kai comes back so maybe u could do like a theory list of season 3 theories or something. Color out of space free streaming. What happens if jason mamoa was acting as invisible man! people : holly lord.

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Hands down the best lovecraftian film Ive seen done right in a good while.

 

 

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Bloodshot

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Publisher - Gold Star Asshole
Bio “Just occasionally a pain in the ass but very likable” and “The absolute worst”

Based on the Valiant Comics character of the same name; Bloodshot stars Vin Diesel as Marine Ray Garrison. When he and his wife are murdered, Ray is resurrected by a secret team of scientists. Enhanced with nanotechnology, he becomes a superhuman, biotech killing machine. As Ray first trains with fellow super-soldiers, he cannot recall anything from his former life. But when his memories flood back and he remembers the man that killed both him and his wife, he breaks out of the facility hellbent on revenge, only to discover that there's more to the conspiracy than he originally thought creators: Jeff Wadlow country: USA.

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Local export = {} = { ["ābà"] = { "阿壩", "阿爸"}, ["àidài"] = { "愛戴", "靉靆"}, ["āidào"] = { "哀悼", "挨到"}, ["àidíshēng"] = { "愛迪生", "艾狄生", "艾迪生"}, ["āiháo"] = { "哀嚎", "哀號"}, ["àikǒu"] = { "礙口", "隘口"}, ["àilìsī"] = { "愛麗絲", "艾麗絲"}, ["àiróng"] = { "艾絨", "艾茸"}, ["àixī"] = { "愛惜", "愛西"}, ["āiyāo"] = { "哎唷", "哎喲"}, ["āiyō"] = { "哎唷", "哎喲"}, ["àizībìng"] = { "愛滋病", "艾滋病"}, ["ājiě"] = { "阿姊", "阿姐"}, ["āmǔ"] = { "阿姆", "阿母"}, ["ānbù"] = { "安瓿", "安部"}, ["ānchún"] = { "安純", "鵪鶉"}, ["àndànwúguāng"] = { "暗淡無光", "黯淡無光"}, ["ānjí"] = { "安吉", "安輯"}, ["ànjì"] = { "暗計", "暗記"}, ["ānjī"] = { "氨基", "胺基"}, ["ànjiàn"] = { "按劍", "按鍵", "暗劍", "暗箭", "案件"}, ["ānjìng"] = { "安靖", "安靜"}, ["ānjīsuān"] = { "氨基酸", "胺基酸"}, ["ānjīyǐsuān"] = { "氨基乙酸", "胺基乙酸"}, ["ānkāng"] = { "安康", "鮟鱇"}, ["ānpèi"] = { "安沛", "鞍轡"}, ["ànqì"] = { "暗器", "暗泣"}, ["ànrán"] = { "岸然", "黯然"}, ["ànshā"] = { "暗殺", "暗沙"}, ["ānshān"] = { "安山", "鞍山"}, ["ānshì"] = { "安士", "安適"}, ["ànshì"] = { "暗事", "暗室", "暗示"}, ["ānsuān"] = { "氨酸", "胺酸"}, ["ānxí"] = { "安息", "諳習"}, ["ànxiāng"] = { "暗箱", "暗香"}, ["ānyì"] = { "安藝", "安逸", "安邑"}, ["ànyǔ"] = { "按語", "暗語", "案語"}, ["àokè"] = { "奧客", "拗客"}, ["àoményuán"] = { "澳門元", "澳門圓"}, ["āoxiàn"] = { "凹線", "凹陷"}, ["àozhōu"] = { "奧州", "澳洲"}, ["āsīpǐlín"] = { "阿司匹林", "阿斯匹林"}, ["āxì"] = { "錒系", "阿細"}, ["bābā"] = { "巴巴", "粑粑"}, ["bābālā"] = { "巴巴拉", "芭芭拉"}, ["bābǐ"] = { "巴比", "芭比"}, ["bái'ānsuān"] = { "白氨酸", "白胺酸"}, ["báibān"] = { "白斑", "白班"}, ["bǎibù"] = { "擺佈", "百步", "百部"}, ["báichī"] = { "白吃", "白痴"}, ["bǎidù"] = { "擺渡", "百度"}, ["báihú"] = { "白狐", "白鵠"}, ["báihuà"] = { "白化", "白樺", "白話"}, ["báijí"] = { "白及", "白芨"}, ["báijī"] = { "白芨", "白雞"}, ["báilù"] = { "白露", "白鷺", "白鹿"}, ["báimiàn"] = { "白面", "白麵"}, ["báishí"] = { "白石", "白食"}, ["bǎishì"] = { "百世", "百事"}, ["báiyáng"] = { "白楊", "白羊"}, ["bàiyè"] = { "拜謁", "敗葉"}, ["báizhǐ"] = { "白紙", "白芷"}, ["bālí"] = { "巴厘", "巴黎"}, ["bàlíng"] = { "霸凌", "霸陵"}, ["bālù"] = { "八路", "巴錄"}, ["bǎnběn"] = { "坂本", "板本", "版本"}, ["bànchéng"] = { "半程", "扮成"}, ["bāncì"] = { "班次", "頒賜"}, ["bàndǎo"] = { "半島", "絆倒"}, ["bāndòng"] = { "扳動", "搬動"}, ["bànfàn"] = { "伴飯", "拌飯"}, ["bāngdí"] = { "梆笛", "邦廸", "邦迪"}, ["bànguāng'ānsuān"] = { "半胱氨酸", "半胱胺酸"}, ["bāngzi"] = { "幫子", "梆子"}, ["bǎnhuà"] = { "板話", "版畫"}, ["bānjī"] = { "扳機", "班基", "班機"}, ["bānjí"] = { "班吉", "班級"}, ["bǎnkuài"] = { "板塊", "版塊"}, ["bǎnmiàn"] = { "板麵", "版面"}, ["bànshì"] = { "半世", "辦事"}, ["bǎnzhǔ"] = { "板主", "版主"}, ["bānzi"] = { "扳子", "班子"}, ["bǎobǎo"] = { "保保", "寶寶"}, ["bǎobiāo"] = { "保鏢", "保鑣"}, ["bàobiǎo"] = { "報表", "爆錶"}, ["bàobìng"] = { "抱病", "暴病"}, ["bàochóu"] = { "報仇", "報讎", "報酬"}, ["bàochóuxuěhèn"] = { "報仇雪恨", "報讎雪恨"}, ["bàodào"] = { "報到", "報道"}, ["bàofā"] = { "暴發", "爆發"}, ["bàofù"] = { "報復", "抱腹", "抱負", "暴富"}, ["bàoguāng"] = { "暴光", "曝光"}, ["bāohán"] = { "包含", "包涵"}, ["bǎohé"] = { "寶盒", "飽和"}, ["bàohèn"] = { "報恨", "抱恨"}, ["bàohóng"] = { "暴洪", "爆紅"}, ["bàojià"] = { "報價", "報架"}, ["bǎojiàn"] = { "保健", "保薦", "寶劍", "寶鑑"}, ["bàolì"] = { "暴利", "暴力", "暴厲", "暴吏", "暴戾"}, ["bàoliè"] = { "暴烈", "爆烈", "爆裂"}, ["bǎomǔ"] = { "保姆", "保母"}, ["bǎonuǎn"] = { "保暖", "飽暖"}, ["bàoshí"] = { "報時", "暴食"}, ["bǎoshí"] = { "寶石", "飽食"}, ["bàoxiào"] = { "報效", "爆笑"}, ["bǎoyù"] = { "保育", "寶玉"}, ["bǎozhí"] = { "保值", "保質"}, ["bàozi"] = { "刨子", "報子", "豹子", "鉋子"}, ["bǎshì"] = { "把勢", "把式"}, ["bǎshǒu"] = { "把守", "把手"}, ["bāxiān"] = { "八仙", "巴仙"}, ["bàyè"] = { "伯業", "霸業"}, ["bāzhá"] = { "巴扎", "巴紮"}, ["bāzhā"] = { "巴扎", "巴紮"}, ["bàzhàn"] = { "罷戰", "霸佔"}, ["bēicuī"] = { "悲催", "悲摧"}, ["bèidào"] = { "倍道", "背道"}, ["bèifèn"] = { "備份", "輩分"}, ["bèifú"] = { "被俘", "被服"}, ["bēiguān"] = { "卑官", "悲觀"}, ["běijiāng"] = { "北江", "北疆"}, ["bēijù"] = { "悲劇", "杯具"}, ["běikǎluóláinà"] = { "北卡羅來納", "北卡羅萊納"}, ["bèikǎo"] = { "備考", "焙烤"}, ["bèimiàn"] = { "背面", "被面"}, ["bēimíng"] = { "悲鳴", "杯茗", "碑銘"}, ["bèimiù"] = { "悖謬", "背謬"}, ["bèináng"] = { "背囊", "被囊"}, ["bēiqiè"] = { "卑怯", "悲切"}, ["bèishū"] = { "背書", "貝書"}, ["bèisī"] = { "貝司", "貝斯"}, ["bèitāi"] = { "備胎", "被胎"}, ["bèizi"] = { "被子", "輩子"}, ["běnbǐng'ānsuān"] = { "苯丙氨酸", "苯丙胺酸"}, ["běnshì"] = { "本事", "本市", "本是"}, ["běnxī"] = { "本息", "本溪"}, ["běnyì"] = { "本意", "本義"}, ["běnzhì"] = { "本志", "本質"}, ["běnzhí"] = { "本職", "本質"}, ["biànchéng"] = { "汴城", "變成"}, ["biānchéng"] = { "編成", "編程", "邊城"}, ["biānfú"] = { "蝙蝠", "邊幅"}, ["biàngé"] = { "變格", "變革"}, ["biànhuàn"] = { "變幻", "變換"}, ["biānjí"] = { "編輯", "編集"}, ["biànjié"] = { "便捷", "變節"}, ["biànlì"] = { "便利", "遍歷"}, ["biànqiān"] = { "便籤", "變遷"}, ["biànshì"] = { "便士", "便是", "辨識", "遍視"}, ["biànwèi"] = { "變位", "變味"}, ["biànxíng"] = { "變形", "遍行"}, ["biànyì"] = { "變易", "變異", "辨義"}, ["biǎnyì"] = { "貶抑", "貶義"}, ["biànyú"] = { "便於", "編餘", "遍於"}, ["biànzhèng"] = { "辨證", "辯證", "辯正", "辨正", "辨症"}, ["biānzhì"] = { "編制", "編製"}, ["biǎnzhí"] = { "貶值", "貶職"}, ["biāogāo"] = { "標高", "飆高"}, ["biāohàn"] = { "彪悍", "飆汗"}, ["biǎoyì"] = { "表意", "表義"}, ["biǎoyìwénzì"] = { "表意文字", "表義文字"}, ["biǎozhāng"] = { "表彰", "表章"}, ["biāozhì"] = { "標緻", "標誌"}, ["biǎozi"] = { "婊子", "表子"}, ["biéguǎn"] = { "別管", "別館"}, ["biējiǎ"] = { "鱉甲", "鼈甲"}, ["bǐhuà"] = { "比畫", "筆畫"}, ["bìhuì"] = { "避諱", "閉會"}, ["bǐjì"] = { "筆記", "筆跡"}, ["bǐjià"] = { "比價", "筆架"}, ["bǐjiān"] = { "比肩", "筆尖"}, ["bìlì"] = { "壁立", "篳篥", "薜荔", "觱栗", "觱篥"}, ["bǐlì"] = { "比例", "筆力"}, ["bǐlù"] = { "筆路", "筆錄"}, ["bìmǎwēn"] = { "弼馬溫", "避馬瘟"}, ["bìmén"] = { "篳門", "閉門"}, ["bìmìng"] = { "斃命", "畢命"}, ["bǐng'ānsuān"] = { "丙氨酸", "丙胺酸"}, ["bīngdòng"] = { "冰凍", "冰洞"}, ["bǐngfù"] = { "秉賦", "稟复", "稟復", "稟複", "稟覆", "稟賦"}, ["bǐnggān"] = { "丙肝", "餅乾"}, ["bīnghé"] = { "冰核", "冰河"}, ["bīngjiàn"] = { "兵艦", "兵諫", "冰見"}, ["bìnglì"] = { "並立", "併力", "病例", "病歷"}, ["bǐngqì"] = { "屏棄", "屏氣"}, ["bīngshì"] = { "兵事", "兵勢", "兵士", "冰室", "冰釋"}, ["bǐngxìng"] = { "秉性", "稟性"}, ["bīngyuán"] = { "兵員", "兵源", "冰原"}, ["bìngyuán"] = { "病原", "病員", "病源"}, ["bìngzhēng"] = { "病徵", "病癥"}, ["bìngzhòng"] = { "並重", "病重"}, ["bīnzhōu"] = { "濱州", "賓舟"}, ["bǐsà"] = { "彼薩", "比薩"}, ["bǐsàbǐng"] = { "彼薩餅", "比薩餅"}, ["bìsè"] = { "蔽塞", "閉塞"}, ["bǐshì"] = { "比試", "筆勢", "筆式", "筆試", "鄙視"}, ["bǐshǒuhuàjiǎo"] = { "比手劃腳", "比手畫腳"}, ["bìxié"] = { "辟邪", "避邪"}, ["bìxiù"] = { "壁宿", "畢宿"}, ["bìxū"] = { "必需", "必須"}, ["bíyān"] = { "鼻咽", "鼻煙"}, ["bìyì"] = { "敝邑", "裨益", "辟易", "避役"}, ["bǐyì"] = { "比翼", "筆意", "筆譯", "鄙意"}, ["bǐzhí"] = { "比值", "筆直"}, ["bǐzuò"] = { "吡唑", "比作"}, ["bōchū"] = { "撥出", "播出"}, ["bōdòng"] = { "撥動", "波動"}, ["bōfú"] = { "播幅", "波幅"}, ["bógǔ"] = { "薄古", "薄姑", "博古"}, ["bókè"] = { "博客", "搏克"}, ["bōlán"] = { "波瀾", "波蘭"}, ["bólì"] = { "伯力", "薄利"}, ["bōluó"] = { "波羅", "菠蘿"}, ["bōluómì"] = { "波羅蜜", "菠蘿蜜"}, ["bómù"] = { "柏木", "薄暮"}, ["bōnong"] = { "撥弄", "播弄"}, ["bóqí"] = { "荸薺", "葧薺"}, ["bóshì"] = { "博士", "博識"}, ["bówén"] = { "僰文", "博文", "博聞"}, ["bówù"] = { "博物", "薄霧"}, ["bóxīng"] = { "勃興", "孛星"}, ["bóyì"] = { "博弈", "駁議"}, ["bōyīn"] = { "播音", "波音"}, ["bōzhǒng"] = { "嶓冢", "播種"}, ["bùbì"] = { "不必", "不避"}, ["bùbiàn"] = { "不便", "不變", "不辨"}, ["bùchéng"] = { "不成", "布城"}, ["bùdān"] = { "不丹", "不單"}, ["bùdào"] = { "佈道", "布道", "步道"}, ["bùdiàn"] = { "布店", "布甸"}, ["bùfá"] = { "不乏", "步伐"}, ["bùfǎ"] = { "不法", "步法"}, ["bùfáng"] = { "不妨", "布防"}, ["bùfù"] = { "不復", "不赴"}, ["bùfú"] = { "不服", "不符", "步幅"}, ["bùgān"] = { "不乾", "不干", "不甘"}, ["bùgōng"] = { "不公", "不恭"}, ["bùhé"] = { "不合", "不和"}, ["búhuì"] = { "不會", "不諱"}, ["bùjí"] = { "不及", "不吉", "布吉", "簿籍"}, ["bùjué"] = { "不絕", "不覺"}, ["bǔkè"] = { "卜課", "補課"}, ["bùlì"] = { "不利", "不力"}, ["bùmǎn"] = { "不滿", "布滿"}, ["bùqū"] = { "不屈", "部曲"}, ["bùshèn"] = { "不慎", "不甚"}, ["bùshì"] = { "不世", "不是", "不識", "不適"}, ["bùshí"] = { "不實", "不時", "不識", "布什"}, ["bùshǔ"] = { "部屬", "部署"}, ["bùxiáng"] = { "不祥", "不詳"}, ["bùxiào"] = { "不孝", "不肖"}, ["bùxiè"] = { "不屑", "不懈", "不謝"}, ["bùxíng"] = { "不形", "不行", "步行"}, ["bǔyǎng"] = { "哺養", "補養"}, ["bùyī"] = { "不一", "不依", "布依", "布衣"}, ["bùyì"] = { "不亦", "不意", "不易", "不義"}, ["bùyí"] = { "不宜", "不移", "不遺"}, ["bùyǔ"] = { "不予", "不語"}, ["bùzài"] = { "不再", "不在"}, ["bùzhèn"] = { "布陣", "部陣"}, ["bùzhǐ"] = { "不只", "不止"}, ["bùzhī"] = { "不支", "不知"}, ["bùzhì"] = { "佈置", "部置"}, ["búzhì"] = { "不治", "不致"}, ["bùzhìyú"] = { "不至於", "不致於"}, ["bùzhǔn"] = { "不准", "不準"}, ["bùzi"] = { "步子", "簿子", "餔子"}, ["bùzú"] = { "不足", "步卒", "部族"}, ["cáiduó"] = { "裁奪", "裁度"}, ["cǎifēng"] = { "採風", "采風"}, ["cáifù"] = { "才賦", "財富"}, ["cáijiǎn"] = { "裁剪", "裁減"}, ["cǎiléi"] = { "彩雷", "踩雷"}, ["cáilì"] = { "才力", "財力"}, ["cáiliáng"] = { "裁量", "財糧"}, ["càipǔ"] = { "菜圃", "菜譜"}, ["cáiwù"] = { "財務", "財物"}, ["cáiyuán"] = { "裁員", "財源"}, ["cáizhì"] = { "才智", "材質", "裁製"}, ["cǎndàn"] = { "慘淡", "慘澹", "黲淡"}, ["cānghuáng"] = { "倉惶", "倉皇", "蒼黃"}, ["cānyù"] = { "參與", "參預"}, ["cáozi"] = { "槽子", "艚子"}, ["cēncī"] = { "參差", "嵾嵳"}, ["cèshì"] = { "側室", "側視", "測試", "策士"}, ["chāchí"] = { "叉匙", "差池"}, ["chádào"] = { "查到", "茶道"}, ["chádiǎn"] = { "查點", "茶點"}, ["cháfǎng"] = { "察訪", "查訪"}, ["cháfáng"] = { "查房", "茶房"}, ["chāhuà"] = { "插畫", "插話"}, ["chájī"] = { "查緝", "茶几"}, ["chájué"] = { "察覺", "查覺"}, ["chákān"] = { "察勘", "查勘"}, ["chákàn"] = { "察看", "查看"}, ["chángdì"] = { "場地", "常棣"}, ["chǎngdì"] = { "場地", "敞地"}, ["chángdù"] = { "腸肚", "長度"}, ["chángguǎn"] = { "場館", "腸管"}, ["chánghé"] = { "場合", "長河"}, ["chángjǐng"] = { "場景", "常景", "長井"}, ["chángjiǔ"] = { "常久", "長久"}, ["chángmìng"] = { "償命", "長命"}, ["chángnián"] = { "常年", "長年"}, ["chángqí"] = { "長崎", "長期"}, ["chángshān"] = { "常山", "長山", "長衫"}, ["chángshè"] = { "常設", "長社"}, ["chángshì"] = { "嘗試", "常事", "常侍", "常是", "常識", "長逝"}, ["chángshí"] = { "常時", "常識", "常食", "長時", "長石"}, ["chángshòu"] = { "嘗受", "長壽"}, ["chángtǒngwà"] = { "長筒襪", "長統襪"}, ["chángwěi"] = { "常委", "長尾"}, ["chángyán"] = { "常言", "腸炎", "腸癌"}, ["chángyè"] = { "腸液", "長夜"}, ["chǎngzhǎng"] = { "場長", "廠長"}, ["chángzhōu"] = { "常州", "長洲"}, ["chǎngzi"] = { "場子", "廠子"}, ["chángzi"] = { "場子", "腸子"}, ["chǎnqián"] = { "產前", "產鉗"}, ["chányán"] = { "讒言", "饞言"}, ["cháo'ěr"] = { "朝爾", "潮爾"}, ["cháofèng"] = { "嘲諷", "朝奉"}, ["chāojí"] = { "抄擊", "抄籍", "超級"}, ["chāojíběn"] = { "超極本", "超級本"}, ["chāoshēng"] = { "超升", "超生", "超聲"}, ["chāoxí"] = { "剿襲", "抄襲"}, ["chāoxiě"] = { "抄寫", "鈔寫"}, ["cháoyáng"] = { "朝陽", "潮陽"}, ["chāshǒu"] = { "叉手", "插手"}, ["chātóu"] = { "差頭", "插頭"}, ["chāyāo"] = { "叉腰", "插腰"}, ["cháyè"] = { "查夜", "茶業", "茶葉"}, ["chàzi"] = { "岔子", "杈子"}, ["chēchén"] = { "車塵", "車臣"}, ["chējiàn"] = { "車前", "車葥"}, ["chénfú"] = { "沉浮", "臣服"}, ["chéngbàn"] = { "懲辦", "承辦"}, ["chéngcái"] = { "成才", "成材"}, ["chéngdé"] = { "成德", "承德"}, ["chēnggāntiàogāo"] = { "撐桿跳高", "撐竿跳高"}, ["chénghuáng"] = { "城隍", "橙黃"}, ["chéngjī"] = { "乘機", "乘積", "成績"}, ["chéngjiàn"] = { "乘間", "城建", "成見", "承建"}, ["chéngjiāo"] = { "城郊", "成交"}, ["chénglì"] = { "成例", "成立"}, ["chéngmǎ"] = { "乘馬", "成馬"}, ["chéngrén"] = { "成人", "成仁"}, ["chéngsè"] = { "成色", "橙色"}, ["chéngshì"] = { "乘勢", "呈示", "城事", "城市", "成事", "承事", "程式", "誠是"}, ["chéngshí"] = { "乘時", "誠實"}, ["chéngshù"] = { "乘數", "橙樹"}, ["chénguāng"] = { "晨光", "辰光"}, ["chéngwén"] = { "呈文", "成文"}, ["chéngxiàn"] = { "呈獻", "呈現"}, ["chéngxiàng"] = { "丞相", "成像", "成象"}, ["chéngxìn"] = { "乘釁", "誠信"}, ["chéngxīn"] = { "成心", "誠心"}, ["chéngxíng"] = { "成型", "成形", "成行"}, ["chéngxùyuán"] = { "程序員", "程序猿"}, ["chéngyì"] = { "城邑", "懲役", "誠意"}, ["chéngyuán"] = { "城垣", "成員"}, ["chéngzhì"] = { "懲治", "承製", "誠摯"}, ["chénmò"] = { "沉沒", "沉默"}, ["chènqián"] = { "稱錢", "趁錢"}, ["chénshì"] = { "塵世", "塵事", "臣事"}, ["chénwù"] = { "塵務", "塵霧"}, ["chènxīn"] = { "稱心", "趁心"}, ["chényín"] = { "沈吟", "沉吟"}, ["chēpéng"] = { "車棚", "車篷"}, ["chēqián"] = { "車前", "車葥", "車錢"}, ["chèxiāo"] = { "徹消", "撤消", "撤銷"}, ["chēzhǎng"] = { "車掌", "車長"}, ["chídào"] = { "遲到", "馳道"}, ["chìdì"] = { "斥地", "赤地", "赤帝"}, ["chǐdù"] = { "尺度", "齒蠹"}, ["chìfēng"] = { "敕封", "赤峰"}, ["chǐgǔ"] = { "尺骨", "恥骨", "齒骨"}, ["chíhuǎn"] = { "弛緩", "遲緩"}, ["chìlì"] = { "斥力", "赤痢"}, ["chìliè"] = { "熾烈", "赤鴷"}, ["chīxiào"] = { "嗤笑", "痴笑"}, ["chíyán"] = { "池鹽", "遲延"}, ["chìzé"] = { "叱責", "斥責", "赤幘"}, ["chízi"] = { "匙子", "池子"}, ["chōngchōng"] = { "忡忡", "憧憧", "衝衝"}, ["chōngcì"] = { "沖刺", "衝刺"}, ["chōngfèn"] = { "充份", "充分"}, ["chóngfù"] = { "重復", "重複"}, ["chōngjī"] = { "充飢", "冲激", "沖積", "衝擊"}, ["chóngmíng"] = { "崇明", "重明"}, ["chōngshí"] = { "充實", "沖蝕"}, ["chōngxǐ"] = { "沖喜", "沖洗"}, ["chóngyáng"] = { "崇洋", "重洋", "重陽"}, ["chóngzhì"] = { "蟲豸", "重置"}, ["chóuchàng"] = { "惆悵", "酬唱"}, ["chóuhuà"] = { "籌劃", "籌畫"}, ["chǒuhuà"] = { "醜化", "醜話"}, ["chóurén"] = { "仇人", "稠人"}, ["chōuxiànghuà"] = { "抽象化", "抽象畫"}, ["chóuzi"] = { "籌子", "綢子"}, ["chuàngjiàn"] = { "創建", "創見"}, ["chuǎngjìn"] = { "闖勁", "闖進"}, ["chuāngkǒu"] = { "創口", "瘡口", "窗口"}, ["chuànglì"] = { "創利", "創立"}, ["chuàngshìjì"] = { "創世紀", "創世記"}, ["chuángzhào"] = { "床照", "床罩"}, ["chuánpiào"] = { "傳票", "船票"}, ["chuánsòng"] = { "傳誦", "傳送", "傳頌"}, ["chuányì"] = { "傳意", "傳譯"}, ["chuānyuè"] = { "川越", "穿越"}, ["chūbǎn"] = { "出版", "初版"}, ["chúcǎo"] = { "鋤草", "除草"}, ["chūchǎng"] = { "出場", "出廠"}, ["chūgé"] = { "出格", "出閣"}, ["chūgōng"] = { "出宮", "出工", "出恭"}, ["chūguǐ"] = { "出軌", "出鬼"}, ["chūháng"] = { "出航", "初航"}, ["chuílián"] = { "垂憐", "垂簾"}, ["chūjí"] = { "出擊", "初級"}, ["chūjià"] = { "出價", "出嫁"}, ["chūjiè"] = { "出借", "出界"}, ["chùlì"] = { "畜力", "矗立"}, ["chǔncái"] = { "蠢才", "蠢材"}, ["chúnhòu"] = { "淳厚", "純厚", "醇厚"}, ["chūnhuà"] = { "春化", "春畫"}, ["chūnjì"] = { "春季", "春祭"}, ["chǔnǚzuò"] = { "處女作", "處女座"}, ["chūshēng"] = { "出生", "出聲", "初升", "初生", "初聲"}, ["chùsheng"] = { "畜牲", "畜生"}, ["chùshēng"] = { "畜牲", "畜生"}, ["chūshì"] = { "出世", "出事", "出仕", "出示", "初試"}, ["chūshǐ"] = { "出使", "初始"}, ["chúshī"] = { "廚師", "除濕"}, ["chǔshì"] = { "處世", "處事", "處士", "處室"}, ["chūshǒu"] = { "出手", "出首"}, ["chūtóu"] = { "出頭", "初頭"}, ["chūxiàn"] = { "出現", "出線"}, ["chúxíng"] = { "雛型", "雛形"}, ["chūxuě"] = { "出血", "初雪"}, ["chūzhěn"] = { "出診", "初診"}, ["chǔzhì"] = { "處治", "處置"}, ["chūzhōng"] = { "初中", "初衷"}, ["cíchéng"] = { "茨城", "辭呈"}, ["cígū"] = { "慈姑", "慈菇", "茨菰"}, ["cìhòu"] = { "伺候", "次後"}, ["címù"] = { "茨木", "詞目"}, ["cíqì"] = { "瓷器", "磁器", "辭氣"}, ["cìshēn"] = { "刺參", "刺身"}, ["cítóu"] = { "磁頭", "詞頭"}, ["cíxìng"] = { "磁性", "詞性", "雌性"}, ["cíxíng"] = { "詞形", "辭行"}, ["cíyì"] = { "詞意", "詞義"}, ["cíyuán"] = { "詞源", "辭源"}, ["cōngcōng"] = { "匆匆", "蔥蔥", "鏦鏦"}, ["cuàngǎi"] = { "竄改", "篡改"}, ["cuànnì"] = { "竄匿", "篡逆"}, ["cùjìn"] = { "促進", "醋勁"}, ["cūlǔ"] = { "粗魯", "粗鹵"}, ["cuòshī"] = { "措施", "錯失"}, ["cùxīn"] = { "簇新", "醋心"}, ["dǎbāo"] = { "打包", "打苞"}, ["dàbiàn"] = { "大便", "大變"}, ["dábiàn"] = { "答辨", "答辯"}, ["dàbù"] = { "大埔", "大步"}, ["dǎchà"] = { "打岔", "打杈"}, ["dàchéng"] = { "大乘", "大城", "大成"}, ["dàdì"] = { "大地", "大帝"}, ["dǎdòu"] = { "打逗", "打鬥"}, ["dàdù"] = { "大度", "大肚"}, ["dǎdǔn"] = { "打盹", "打躉"}, ["dǎdǔnr"] = { "打盹兒", "打躉兒"}, ["dàfú"] = { "大幅", "大福"}, ["dàgōng"] = { "大公", "大功", "大工"}, ["dǎgōng"] = { "打工", "打恭", "打躬"}, ["dàgū"] = { "大姑", "小姑"}, ["dàgǔ"] = { "大谷", "大鼓"}, ["dǎgǔ"] = { "打穀", "打鼓"}, ["dàguān"] = { "大官", "大觀"}, ["dàguǎn"] = { "大管", "大館"}, ["dàhé"] = { "大和", "大河"}, ["dàhuǒ"] = { "大夥", "大火"}, ["dǎhuǒ"] = { "打夥", "打火"}, ["dàidiàn"] = { "代墊", "代電", "帶電"}, ["dàijià"] = { "代價", "代駕"}, ["dàijìn"] = { "帶勁", "帶進", "殆盡"}, ["dàikè"] = { "代課", "待客"}, ["dàilǐng"] = { "代領", "帶領"}, ["dǎishì"] = { "歹事", "歹勢"}, ["dàizi"] = { "帶子", "袋子"}, ["dàjì"] = { "大薊", "大計"}, ["dàjiàng"] = { "大將", "大醬"}, ["dàjiě"] = { "大姐", "大解"}, ["dàjūn"] = { "大君", "大軍"}, ["dàlǎo"] = { "大佬", "大老"}, ["dàlù"] = { "大路", "大陸", "大鹿"}, ["dàmá"] = { "大蔴", "大麻"}, ["dàn'ānsuān"] = { "蛋氨酸", "蛋胺酸"}, ["dànbó"] = { "淡泊", "淡薄"}, ["dānchéng"] = { "丹誠", "單程"}, ["dāndān"] = { "單單", "眈眈"}, ["dàndìng"] = { "淡定", "蛋腚"}, ["dāndú"] = { "丹毒", "單獨"}, ["dàngfù"] = { "蕩婦", "蕩覆"}, ["dāngshì"] = { "當世", "當事"}, ["dāngshí"] = { "當實", "當時"}, ["dǎngyǔ"] = { "擋雨", "黨羽", "黨與"}, ["dǎngzhèng"] = { "黨政", "黨證"}, ["dàngzuò"] = { "當作", "當做"}, ["dànhuáng"] = { "淡黃", "蛋黃"}, ["dānjià"] = { "單價", "擔架"}, ["dānjù"] = { "丹劇", "單句", "單據"}, ["dànké"] = { "彈殼", "蛋殼"}, ["dānkǒngmù"] = { "单孔目", "單孔目"}, ["dānníng"] = { "丹寧", "單寧"}, ["dànqīng"] = { "淡青", "蛋清"}, ["dānshēn"] = { "丹參", "丹蔘", "單身"}, ["dǎnshí"] = { "膽石", "膽識"}, ["dāntiāo"] = { "單挑", "擔挑"}, ["dànxī"] = { "旦夕", "氮烯"}, ["dānxiàng"] = { "單向", "單相"}, ["dānxīn"] = { "丹心", "擔心", "殫心"}, ["dānyī"] = { "單一", "單衣"}, ["dànzi"] = { "彈子", "擔子"}, ["dǎnzi"] = { "撣子", "膽子"}, ["dàocháng"] = { "到場", "道場"}, ["dàochǎng"] = { "到場", "道場"}, ["dàocí"] = { "悼詞", "悼辭"}, ["dǎodàn"] = { "導彈", "搗蛋"}, ["dàodé"] = { "到得", "道德"}, ["dǎogé"] = { "倒戈", "倒閣"}, ["dàogē"] = { "倒戈", "悼歌"}, ["dàoguàn"] = { "倒灌", "道觀"}, ["dàojiā"] = { "到家", "道家"}, ["dāojiàn"] = { "刀劍", "刀箭"}, ["dāojù"] = { "刀具", "刀鋸"}, ["dàomù"] = { "盜墓", "道木"}, ["dàoqí"] = { "到期", "到齊"}, ["dàoshì"] = { "倒是", "道士"}, ["dàoxíng"] = { "倒行", "道行"}, ["dàpáidàng"] = { "大排檔", "大牌檔"}, ["dàpáidǎng"] = { "大排檔", "大牌檔"}, ["dàqì"] = { "大器", "大氣"}, ["dàquán"] = { "大全", "大權"}, ["dàrén"] = { "大人", "大仁"}, ["dàrénbùjìxiǎorénguò"] = { "大人不計小人過", "大人不記小人過"}, ["dàshèng"] = { "大乘", "大勝", "大聖"}, ["dàshì"] = { "大事", "大勢", "大士"}, ["dàshū"] = { "大叔", "大書"}, ["dàshù"] = { "大數", "大樹"}, ["dàsì"] = { "大四", "大肆"}, ["dàtǒng"] = { "大桶", "大筒", "大統"}, ["dàwèi"] = { "大位", "大衛"}, ["dàwù"] = { "大務", "大悟"}, ["dàxià"] = { "大夏", "大廈"}, ["dàyáng"] = { "大洋", "大陽"}, ["dǎyàng"] = { "打樣", "打烊"}, ["dàyī"] = { "大一", "大衣", "大醫"}, ["dàyì"] = { "大意", "大義"}, ["dàyú"] = { "大庾", "大於"}, ["dàyǔ"] = { "大禹", "大語", "大雨"}, ["dàzhì"] = { "大志", "大智", "大致"}, ["dàzhǐ"] = { "大旨", "大趾"}, ["dédào"] = { "得到", "得道"}, ["dékèsàsī"] = { "得克薩斯", "德克薩斯"}, ["délì"] = { "得利", "得力"}, ["délǜfēng"] = { "得律風", "德律風"}, ["délǔyī"] = { "德魯伊", "德鲁伊"}, ["déméiyīn"] = { "得梅因", "德梅因"}, ["dēngjī"] = { "登基", "登機"}, ["dēnglù"] = { "登錄", "登陸"}, ["dèngzi"] = { "凳子", "鐙子"}, ["déshì"] = { "得勢", "得士", "德士"}, ["déxìng"] = { "德性", "德行"}, ["déyǐ"] = { "得以", "德乙"}, ["déyì"] = { "得意", "得益"}, ["diǎnbō"] = { "點撥", "點播"}, ["diànchǎng"] = { "電場", "電廠"}, ["diàngǎn"] = { "電感", "電桿"}, ["diànhuà"] = { "電化", "電話"}, ["diǎnjí"] = { "典籍", "點擊"}, ["diànjī"] = { "奠基", "電擊", "電機"}, ["diànjì"] = { "奠祭", "惦記"}, ["diànjí"] = { "電擊", "電極"}, ["diǎnjī"] = { "點擊", "點飢"}, ["diānkuáng"] = { "顛狂", "癲狂"}, ["diànmén"] = { "店門", "電門"}, ["diǎnmíng"] = { "點名", "點明"}, ["diànqì"] = { "電器", "電氣"}, ["diànshì"] = { "殿試", "電勢", "電視"}, ["diànwū"] = { "店屋", "玷污"}, ["diànxià"] = { "奠下", "殿下"}, ["diànyuán"] = { "店員", "電源"}, ["diàodài"] = { "吊帶", "吊袋"}, ["diàoxiàn"] = { "吊線", "掉線", "釣線"}, ["diàoyútáiqúndǎo"] = { "釣魚台群島", "釣魚臺群島"}, ["diàozhēn"] = { "吊針", "掉幀"}, ["diàozi"] = { "吊子", "調子", "銚子"}, ["dìbǎo"] = { "地保", "地堡"}, ["dìdòng"] = { "地動", "地洞"}, ["diéxuè"] = { "啑血", "喋血"}, ["dīfáng"] = { "堤防", "提防"}, ["dìjī"] = { "地基", "地積"}, ["dìjiāo"] = { "締交", "遞交"}, ["dìlì"] = { "地利", "地力", "地栗", "帝力"}, ["dìngdān"] = { "定單", "訂單"}, ["dīngdāng"] = { "丁當", "叮噹", "叮當"}, ["dìngdìng"] = { "定定", "訂定"}, ["dīngdōng"] = { "丁冬", "叮咚"}, ["dǐngfēng"] = { "頂峰", "頂風"}, ["dìnggòu"] = { "定購", "訂購"}, ["dìnghuò"] = { "定貨", "訂貨"}, ["dìnglì"] = { "定例", "定力", "訂立"}, ["dìnglǐ"] = { "定理", "定禮"}, ["dǐnglì"] = { "鼎力", "鼎立"}, ["dìngshūjī"] = { "訂書機", "釘書機"}, ["dìngwèi"] = { "定位", "訂位"}, ["dìngxíng"] = { "定型", "定形"}, ["dǐngzhēn"] = { "頂真", "頂針"}, ["dìqì"] = { "地契", "地氣"}, ["dìshì"] = { "地勢", "帝室", "諦視"}, ["díshì"] = { "敵視", "的士"}, ["dìwèi"] = { "地位", "帝位"}, ["dǐxiàn"] = { "底線", "底限"}, ["dìyī"] = { "地衣", "第一"}, ["díyì"] = { "嫡裔", "敵意"}, ["dìyù"] = { "地域", "地獄"}, ["dìzhì"] = { "地質", "帝制", "遞質"}, ["dìzhí"] = { "地質", "遞質"}, ["dòngbīng"] = { "凍冰", "動兵"}, ["dōngbùzhōu"] = { "東㳍洲", "東布洲"}, ["dōngdōng"] = { "東東", "鼕鼕"}, ["dōngguā"] = { "冬瓜", "東瓜"}, ["dònghè"] = { "恫喝", "恫嚇"}, ["dōngjiā"] = { "東加", "東家"}, ["dōngjīng"] = { "東京", "東經"}, ["dòngliáng"] = { "棟梁", "棟樑"}, ["dǒngshì"] = { "懂事", "董事"}, ["dòngtǔ"] = { "凍土", "動土"}, ["dōngyíng"] = { "東瀛", "東營"}, ["dòngyuán"] = { "凍原", "動員"}, ["dōngyuè"] = { "冬月", "東嶽"}, ["dòujī"] = { "豆雞", "鬥雞"}, ["dòumiáo"] = { "痘苗", "豆苗"}, ["dòushì"] = { "豆豉", "鬥士"}, ["dòuzhì"] = { "鬥志", "鬥智"}, ["duàndài"] = { "斷代", "緞帶"}, ["duānlì"] = { "端粒", "端麗"}, ["duànzi"] = { "段子", "緞子"}, ["dùguò"] = { "度過", "渡過"}, ["duìbù"] = { "對簿", "隊部"}, ["duìhuàn"] = { "兌換", "對換"}, ["duìyì"] = { "對奕", "對譯"}, ["duìyuán"] = { "對圓", "隊員"}, ["duìzhèng"] = { "對症", "對證"}, ["duìzhì"] = { "對峙", "對治", "對置", "對質"}, ["dújiǎoxì"] = { "獨腳戲", "獨角戲"}, ["dùkǒu"] = { "杜口", "渡口"}, ["dúlì"] = { "獨力", "獨立"}, ["dùnhépànluósītuōfū"] = { "頓河畔羅斯托夫", "頓河畔羅斯託夫"}, ["duōshì"] = { "多事", "多士", "多市"}, ["duòshǒu"] = { "剁手", "舵手"}, ["duōyú"] = { "多於", "多餘"}, ["dúshé"] = { "毒舌", "毒蛇"}, ["dúwù"] = { "毒物", "毒霧", "讀物"}, ["dúyán"] = { "毒言", "讀研"}, ["dǔzhù"] = { "堵住", "賭注"}, ["èguǐ"] = { "惡鬼", "餓鬼"}, ["èguó"] = { "俄國", "鄂國"}, ["èhuà"] = { "惡化", "顎化", "齶化"}, ["èliè"] = { "惡劣", "齶裂"}, ["éméi"] = { "峨嵋", "峨眉", "蛾眉"}, ["éméishān"] = { "峨嵋山", "峨眉山"}, ["èmèng"] = { "噩夢", "惡夢"}, ["ēnshī"] = { "恩師", "恩施"}, ["èxìng"] = { "惡性", "惡行"}, ["éyán"] = { "俄延", "訛言"}, ["èyì"] = { "惡意", "遏抑"}, ["éyǔ"] = { "俄語", "俄雨"}, ["èyùn"] = { "惡運", "噩運", "厄運"}, ["ézi"] = { "蛾子", "額子"}, ["fāfèn"] = { "發奮", "發憤"}, ["fǎjì"] = { "法紀", "髮髻"}, ["fājué"] = { "發掘", "發覺"}, ["fàláng"] = { "法郎", "髮廊"}, ["fǎláng"] = { "法郎", "髮廊"}, ["fànběn"] = { "梵本", "範本"}, ["fǎncháng"] = { "反常", "返場"}, ["fǎnchǎng"] = { "返場", "返廠"}, ["fànchóu"] = { "犯愁", "範疇"}, ["fānchuán"] = { "帆船", "翻船"}, ["fǎnchúnxiāngjī"] = { "反脣相稽", "反脣相譏"}, ["fǎnfù"] = { "反復", "反覆"}, ["fāngcè"] = { "方冊", "方策"}, ["fángfǔ"] = { "防府", "防腐"}, ["fāngjì"] = { "方劑", "方技"}, ["fāngjīn"] = { "方今", "方巾"}, ["fǎngōng"] = { "反攻", "返工"}, ["fàngqì"] = { "放棄", "放氣"}, ["fàngshēng"] = { "放生", "放聲"}, ["fángshì"] = { "坊市", "妨事", "房事", "房室", "房市", "防蝕"}, ["fāngshì"] = { "坊市", "方士", "方式"}, ["fāngtīng"] = { "方亭", "芳烴"}, ["fǎngǔ"] = { "反古", "反骨"}, ["fāngwèi"] = { "方位", "芳味"}, ["fánlí"] = { "樊籬", "藩籬"}, ["fànlì"] = { "範例", "飯粒"}, ["fánrén"] = { "凡人", "煩人"}, ["fánshì"] = { "凡事", "凡是", "繁峙"}, ["fánsuǒ"] = { "煩瑣", "繁瑣"}, ["fànwén"] = { "梵文", "範文"}, ["fànyì"] = { "梵譯", "泛溢", "犯意"}, ["fànyīn"] = { "梵音", "泛音"}, ["fǎnyìng"] = { "反應", "反映"}, ["fànyǔ"] = { "梵宇", "梵語"}, ["fānyuè"] = { "翻越", "翻閱"}, ["fǎnzhèng"] = { "反正", "反證"}, ["fārénshēnxǐng"] = { "發人深省", "發人深醒"}, ["fāshēng"] = { "發生", "發聲"}, ["fǎshī"] = { "法師", "法施"}, ["fāxiàn"] = { "發現", "發見"}, ["fǎxiàng"] = { "法相", "法像", "法象"}, ["fāxiào"] = { "發笑", "發酵"}, ["fāyán"] = { "發炎", "發言"}, ["fǎyī"] = { "法衣", "法醫"}, ["fǎzhì"] = { "法制", "法治"}, ["fēidàn"] = { "非但", "飛彈"}, ["fèidiǎn"] = { "廢典", "沸點"}, ["fèilì"] = { "廢立", "費力"}, ["féilì"] = { "肥力", "腓利"}, ["fēilǜbīn"] = { "菲律濱", "菲律賓"}, ["fèiqì"] = { "廢棄", "廢氣"}, ["fēishāzǒushí"] = { "飛沙走石", "飛砂走石"}, ["fèiyán"] = { "肺炎", "肺癌"}, ["fēiyì"] = { "非裔", "非議"}, ["fēiyú"] = { "飛魚", "鯡魚"}, ["fēiyuè"] = { "飛越", "飛躍"}, ["fèizhǐ"] = { "廢址", "廢止", "廢紙"}, ["fēnbiàn"] = { "分辨", "分辯"}, ["fēnbù"] = { "分佈", "分部"}, ["fènfèn"] = { "忿忿", "憤憤"}, ["fēnfù"] = { "分付", "吩咐"}, ["fēngcǎi"] = { "丰采", "風采"}, ["fēngcháo"] = { "蜂巢", "風潮"}, ["fēngchén"] = { "封臣", "風塵"}, ["fēngchéng"] = { "豐成", "封城"}, ["fēngchuān"] = { "封川", "豐川"}, ["fēngdiào"] = { "瘋掉", "風調"}, ["fēngdù"] = { "豐度", "風度"}, ["fēnghòu"] = { "封后", "蜂后", "豐厚"}, ["fēnghuà"] = { "瘋話", "風化"}, ["fēnghuǒ"] = { "烽火", "風火"}, ["fēngkǒu"] = { "封口", "風口"}, ["fēnglì"] = { "鋒利", "風力"}, ["fēngmào"] = { "豐茂", "風帽", "風貌"}, ["fēngniǎo"] = { "蜂鳥", "風鳥"}, ["fēngqiáo"] = { "楓橋", "豐橋"}, ["fēngshā"] = { "封殺", "風沙"}, ["fēngshàn"] = { "封禪", "風扇"}, ["fēngshén"] = { "封神", "風神"}, ["fēngshèng"] = { "封聖", "豐盛"}, ["fēngtáng"] = { "楓糖", "蜂糖"}, ["fēngtǔ"] = { "封土", "風土"}, ["fēngxiàng"] = { "封相", "風向"}, ["fēngxiāng"] = { "蜂箱", "風箱"}, ["fēngyùn"] = { "丰韻", "風韻"}, ["fēngzī"] = { "豐姿", "風姿"}, ["fēnhóng"] = { "分洪", "分紅"}, ["fēnliè"] = { "分列", "分裂"}, ["fēnliú"] = { "分流", "分餾"}, ["fěnmiàn"] = { "粉面", "粉麵"}, ["fènnù"] = { "奮怒", "忿怒", "憤怒"}, ["fēnqí"] = { "分期", "分歧"}, ["fēnwéi"] = { "分為", "氛圍"}, ["fēnzhēng"] = { "分爭", "紛爭"}, ["fēnzhī"] = { "分之", "分支", "分枝"}, ["fǔbài"] = { "俯拜", "腐敗"}, ["fùběn"] = { "副本", "複本", "附本"}, ["fùbì"] = { "復辟", "腹壁"}, ["fǔbì"] = { "撫髀", "輔幣", "輔弼"}, ["fúbīng"] = { "伏兵", "浮冰"}, ["fùchá"] = { "復查", "複查"}, ["fúchén"] = { "拂塵", "浮塵", "浮沉"}, ["fùchū"] = { "付出", "復出"}, ["fúdì"] = { "伏地", "福地"}, ["fùdiàn"] = { "複電", "負電"}, ["fúfèn"] = { "福分", "蝠鱝"}, ["fǔfú"] = { "俯伏", "黼黻"}, ["fùguó"] = { "富國", "復國"}, ["fùhé"] = { "復合", "複合", "複核"}, ["fùhè"] = { "負荷", "附和"}, ["fùhuì"] = { "傅會", "赴會", "附會"}, ["fùjì"] = { "附寄", "附記", "附驥"}, ["fùjiā"] = { "富家", "附加"}, ["fùjiàn"] = { "復健", "附件"}, ["fǔjūn"] = { "府君", "撫軍"}, ["fùkān"] = { "副刊", "復刊"}, ["fùlǐ"] = { "富里", "腹裏"}, ["fùlì"] = { "富麗", "複利"}, ["fúlì"] = { "扶立", "浮力", "福利"}, ["fúlíng"] = { "扶靈", "茯苓"}, ["fúlù"] = { "伏路", "福祿"}, ["fùmò"] = { "腹膜", "覆沒"}, ["fūpí"] = { "膚皮", "麩皮"}, ["fùqì"] = { "付訖", "負氣"}, ["fúqì"] = { "服氣", "福氣"}, ["fúqiǎn"] = { "浮淺", "浮潛"}, ["fùrén"] = { "婦人", "富人"}, ["fùshāng"] = { "富商", "負傷"}, ["fùshěn"] = { "复审", "復審"}, ["fúshì"] = { "伏事", "拂拭", "服事", "服侍", "服式", "服飾", "浮世"}, ["fùshí"] = { "副食", "富實"}, ["fùshì"] = { "富士", "複式", "複試"}, ["fúshí"] = { "服食", "浮石"}, ["fǔshí"] = { "腐蝕", "釜石"}, ["fùshǒu"] = { "副手", "覆手"}, ["fùshù"] = { "复述", "富庶", "復述", "複數", "複述", "負數"}, ["fúshū"] = { "扶疏", "服輸"}, ["fùshǔ"] = { "負鼠", "附屬"}, ["fùshuǐ"] = { "洑水", "腹水"}, ["fútè"] = { "伏特", "福特"}, ["fútú"] = { "浮圖", "浮屠"}, ["fùxí"] = { "複習", "赴席"}, ["fúxiàn"] = { "伏線", "浮現"}, ["fùxīn"] = { "腹心", "負心", "負薪", "阜新"}, ["fùxìng"] = { "複姓", "複性", "覆姓", "負性", "賦性"}, ["fǔyǎng"] = { "俯仰", "撫養"}, ["fùyè"] = { "副業", "父業", "複葉"}, ["fùyì"] = { "復議", "負義", "附議"}, ["fúyì"] = { "扶翼", "服役"}, ["fùyìn"] = { "付印", "複印"}, ["fùyǒu"] = { "富友", "富有", "複有", "負有", "賦有", "附有"}, ["fúyóu"] = { "浮游", "蜉蝣"}, ["fùyǔ"] = { "付與", "腹語", "賦予"}, ["fùyú"] = { "富於", "富餘", "負於", "負隅", "附於", "鮒愚", "鰒魚"}, ["fùyù"] = { "富裕", "馥郁"}, ["fǔyù"] = { "撫喻", "撫育", "撫諭"}, ["fùyuán"] = { "富源", "復原", "復員"}, ["fùyuē"] = { "負約", "赴約"}, ["fùzé"] = { "負責", "附則"}, ["fǔzhèng"] = { "斧正", "輔政"}, ["fùzhí"] = { "副職", "復執", "復職", "父執", "負值", "賦值"}, ["fúzhí"] = { "扶植", "扶直"}, ["fùzhòng"] = { "複種", "負重"}, ["fúzhù"] = { "扶助", "縛住"}, ["fùzhù"] = { "縛住", "附注"}, ["fùzǐ"] = { "付梓", "父子", "附子"}, ["gába"] = { "嘎叭", "嘎巴"}, ["gǎidìng"] = { "改定", "改訂"}, ["gàilán"] = { "芥藍", "芥蘭"}, ["gàilüè"] = { "概略", "概要"}, ["gàimá"] = { "幹嗎", "幹嘛"}, ["gàishù"] = { "概數", "概述"}, ["gàmá"] = { "幹嗎", "幹嘛"}, ["gān'ānsuān"] = { "甘氨酸", "甘胺酸"}, ["gāncǎo"] = { "乾草", "甘草"}, ["gǎndào"] = { "感到", "趕到"}, ["gānfàn"] = { "乾飯", "干犯"}, ["gāngà"] = { "尲尬", "尷尬"}, ["gāngcái"] = { "剛才", "鋼材"}, ["gāngguǎn"] = { "缸管", "鋼管"}, ["gǎngshì"] = { "港市", "港式"}, ["gānguǒ"] = { "乾果", "柑果"}, ["gānguō"] = { "乾鍋", "坩堝"}, ["gāngyào"] = { "剛要", "綱要"}, ["gānjiāng"] = { "乾薑", "干將"}, ["gānjú"] = { "柑橘", "甘菊"}, ["gǎnkǎi"] = { "感嘅", "感慨"}, ["gànmá"] = { "幹嗎", "幹嘛"}, ["gānshījì"] = { "乾湿計", "乾濕計"}, ["gānsù"] = { "甘肅", "肝素"}, ["gānxīn"] = { "乾薪", "甘心"}, ["gānyán"] = { "肝炎", "肝癌"}, ["gānyóu"] = { "甘油", "肝油"}, ["gānzhè"] = { "甘蔗", "竿蔗"}, ["gānzi"] = { "杆子", "柑子", "竿子"}, ["gāofēng"] = { "高峰", "高風"}, ["gāojià"] = { "高價", "高架"}, ["gǎojiàn"] = { "稿件", "稿薦"}, ["gāoliáng"] = { "膏粱", "高梁", "高樑", "高粱"}, ["gāolú"] = { "高爐", "高盧"}, ["gāomén"] = { "皋門", "高門"}, ["gāoshēng"] = { "高升", "高聲"}, ["gāotáng"] = { "高唐", "高堂"}, ["gāoxiào"] = { "高效", "高校"}, ["gāoyáng"] = { "羔羊", "高陽"}, ["gāoyào"] = { "膏藥"}, ["gāoyú"] = { "膏腴", "高於"}, ["gāozi"] = { "篙子", "羔子", "膏子"}, ["gāzhiwō"] = { "夾肢窩", "胳肢窩"}, ["gèbié"] = { "個別", "各別"}, ["gègè"] = { "個個", "各個", "各各"}, ["gēge"] = { "咯咯", "哥哥"}, ["gējù"] = { "割據", "歌劇"}, ["gélí"] = { "蛤蜊", "隔離"}, ["gémó"] = { "膈膜", "隔膜"}, ["gémò"] = { "膈膜", "隔膜"}, ["gēngshēn"] = { "庚申", "更深"}, ["gēr"] = { "哥兒", "歌兒"}, ["gér"] = { "嗝兒", "格兒"}, ["gèrén"] = { "個人", "各人"}, ["géshì"] = { "格式", "隔世"}, ["gèwèi"] = { "個位", "各位"}, ["gēzhī"] = { "咯吱", "胳肢"}, ["gèzi"] = { "個子", "各子"}, ["gézi"] = { "格子", "閣子"}, ["gēzi"] = { "歌子", "鴿子"}, ["gōngbù"] = { "公佈", "公布", "工部"}, ["gōngchǎng"] = { "工場", "工廠"}, ["gōngchéng"] = { "宮城", "工程", "攻城"}, ["gōngdào"] = { "公道", "弓道"}, ["gōngdé"] = { "公德", "功德"}, ["gōngdì"] = { "公地", "工地"}, ["gōngdiàn"] = { "供電", "宮殿"}, ["gōngdú"] = { "公牘", "工讀", "攻讀"}, ["gōngduàn"] = { "公斷", "工段"}, ["gōngfā"] = { "攻伐", "攻發"}, ["gōngfáng"] = { "公房", "工房", "攻防"}, ["gōngfēn"] = { "公分", "工分"}, ["gōngfu"] = { "功夫", "工夫"}, ["gōnggǔ"] = { "宮古", "肱骨"}, ["gōngguān"] = { "公關", "攻關"}, ["gōnghuì"] = { "公會", "工會"}, ["gōngjì"] = { "公祭", "功績"}, ["gōngjī"] = { "公積", "公雞", "功績", "攻擊"}, ["gōngjià"] = { "功架", "工價", "工架"}, ["gōngjiàn"] = { "公建", "工件", "工建", "弓箭"}, ["gōngjiāo"] = { "公交", "工交"}, ["gōngjīn"] = { "公斤", "宮津"}, ["gōngjué"] = { "公決", "公爵"}, ["gōngkè"] = { "公克", "功課", "攻克"}, ["gōnglì"] = { "公例", "公曆", "公立", "功利", "功力", "工力"}, ["gōnglǐ"] = { "公理", "公禮", "公里"}, ["gōngmíng"] = { "公明", "功名"}, ["gōngmǔ"] = { "公母", "公畝"}, ["gòngpǐn"] = { "供品", "貢品"}, ["gōngqí"] = { "宮崎", "工期"}, ["gōngrèn"] = { "供認", "公認"}, ["gōngrén"] = { "公人", "公仁", "宮人", "工人", "弓人", "恭人"}, ["gōngshāng"] = { "工傷", "工商"}, ["gōngshè"] = { "公社", "公設"}, ["gōngshì"] = { "公事", "公室", "公式", "公示", "宮室", "工事", "攻勢"}, ["gōngshǐ"] = { "公使", "宮室", "弓矢"}, ["gòngshì"] = { "共事", "共識"}, ["gòngshí"] = { "共時", "共識"}, ["gōngshǒu"] = { "弓手", "攻守"}, ["gōngshù"] = { "供述", "公署"}, ["gōngsī"] = { "公司", "公私"}, ["gōngtóu"] = { "公投", "工頭"}, ["gōngwéi"] = { "宮闈", "恭維", "攻圍"}, ["gōngwù"] = { "公務", "公物", "工務"}, ["gōngxiào"] = { "公孝", "功效", "工效"}, ["gōngxīn"] = { "公心", "工薪", "攻心"}, ["gōngxíng"] = { "宮刑", "弓形", "躬行"}, ["gōngyè"] = { "公業", "功業", "宮掖", "工業", "恭謁"}, ["gōngyì"] = { "公奕", "公意", "公益", "公義", "公議", "工役", "工藝"}, ["gōngyìng"] = { "供應", "公映"}, ["gōngyòng"] = { "供用", "公用", "功用"}, ["gōngyǒu"] = { "公有", "工友"}, ["gōngyú"] = { "公餘", "工於", "工餘"}, ["gōngyuán"] = { "公元", "公園"}, ["gōngzhèng"] = { "公正", "公證", "工正"}, ["gòubìng"] = { "詬病", "購併"}, ["gòubuzháo"] = { "夠不著/够不着", "構不著/构不着"}, ["gòudezháo"] = { "夠得著/够得着", "搆得著/构得着"}, ["gòujiàn"] = { "構件", "構建"}, ["gōulián"] = { "勾聯", "勾連"}, ["gōutōng"] = { "勾通", "溝通"}, ["gǔ'ānsuān"] = { "穀氨酸", "穀胺酸"}, ["guàbāo"] = { "刈包", "割包"}, ["guāhúdāo"] = { "刮胡刀", "刮鬍刀"}, ["guǎigùn"] = { "拐棍", "枴棍", "柺棍"}, ["guǎizhàng"] = { "拐杖", "枴杖", "柺杖"}, ["guān'ài"] = { "關愛", "關礙", "關隘"}, ["guàncháng"] = { "慣常", "灌腸"}, ["guāndǎo"] = { "官倒", "關島"}, ["guānghé"] = { "光合", "光和"}, ["guānghuá"] = { "光滑", "光華"}, ["guānjì"] = { "官紀", "官騎"}, ["guānlián"] = { "關聯", "關連"}, ["guānyuán"] = { "官員", "關員"}, ["guānzhào"] = { "觀照", "關照"}, ["guànzhù"] = { "灌注", "貫注"}, ["guànzi"] = { "冠子", "罐子"}, ["guǎnzi"] = { "管子", "館子"}, ["guāpí"] = { "刮皮", "瓜皮"}, ["gǔbǎn"] = { "古板", "鼓板"}, ["gǔběn"] = { "古本", "股本"}, ["gūdān"] = { "估單", "孤單"}, ["gǔdìng"] = { "古定", "古錠"}, ["gǔdìngdāo"] = { "古定刀", "古錠刀"}, ["gūfù"] = { "姑父", "辜負"}, ["gǔgé"] = { "骨格", "骨骼"}, ["gùgōng"] = { "僱工", "故宮"}, ["gǔgǔ"] = { "汩汩", "股股", "股骨", "鼓鼓"}, ["gǔhuà"] = { "古畫", "古話", "骨化"}, ["gǔhuò"] = { "蠱惑", "鼓惑"}, ["guīchéng"] = { "歸程", "規程", "龜城"}, ["guǐdào"] = { "軌道", "鬼道"}, ["guīfàn"] = { "規範", "閨範"}, ["guīfèi"] = { "硅肺", "規費"}, ["guīgāng"] = { "硅鋼", "龜岡"}, ["guīgé"] = { "規格", "閨閣"}, ["guǐguài"] = { "詭怪", "鬼怪"}, ["guīhuà"] = { "歸化", "硅化", "規劃", "規化"}, ["guǐjì"] = { "詭計", "軌跡", "鬼計"}, ["guījiàn"] = { "規諫", "龜鑒"}, ["guīlì"] = { "瑰麗", "規例"}, ["guǐmèi"] = { "鬼妹", "鬼魅"}, ["guīnà"] = { "歸納", "規那"}, ["guìyuán"] = { "桂圓", "櫃員"}, ["guīzhāng"] = { "規章", "圭璋", "珪璋"}, ["guǐzi"] = { "鬼仔", "鬼子"}, ["gūjì"] = { "估計", "孤寂"}, ["gǔjī"] = { "古跡", "滑稽"}, ["gùjí"] = { "固疾", "痼疾", "錮疾", "顧及"}, ["gùjì"] = { "故伎", "顧忌"}, ["gǔjià"] = { "股價", "骨架"}, ["gǔkē"] = { "古柯", "骨科"}, ["gǔlì"] = { "古力", "古麗", "穀粒", "股利", "骨力", "鼓勵"}, ["gūlu"] = { "咕嚕", "軲轆", "骨碌"}, ["gǔmó"] = { "骨膜", "鼓膜"}, ["gǔnzi"] = { "滾子", "磙子", "輥子"}, ["guòdù"] = { "過度", "過渡"}, ["guójì"] = { "國祭", "國紀", "國計", "國際"}, ["guójūn"] = { "國君", "國軍"}, ["guólì"] = { "國利", "國力", "國曆", "國立"}, ["guòlǜ"] = { "過慮", "過濾"}, ["guóshì"] = { "國事", "國勢", "國是"}, ["guǒzi"] = { "果子", "餜子"}, ["gǔqì"] = { "骨器", "骨氣", "鼓氣"}, ["gǔshì"] = { "古式", "股市"}, ["gǔshí"] = { "古時", "穀食"}, ["gǔshū"] = { "古書", "鼓書"}, ["gùtài"] = { "固態", "故態"}, ["gǔwù"] = { "古物", "穀物"}, ["gǔxī"] = { "古稀", "股息"}, ["gùyōngbīng"] = { "僱傭兵", "雇佣兵", "雇傭兵"}, ["gùyǒu"] = { "固友", "固有", "故友", "故有"}, ["gǔyǔ"] = { "古語", "穀雨"}, ["gùyuán"] = { "僱員", "固原"}, ["gǔzhǎng"] = { "股掌", "股長", "鼓掌"}, ["gǔzhì"] = { "古制", "骨質"}, ["gùzhǔ"] = { "僱主", "故主", "顧主"}, ["gǔzi"] = { "穀子", "股子", "骨子"}, ["hǎibào"] = { "海報", "海豹"}, ["hǎidài"] = { "海帶", "海待"}, ["hǎiguī"] = { "海歸", "海龜"}, ["hǎijīnshā"] = { "海金沙", "海金砂"}, ["hǎixiá"] = { "另有", "海峽"}, ["hǎiyáng"] = { "海洋", "海陽"}, ["hǎiyīng"] = { "海鷹", "海鸚"}, ["hǎizǎo"] = { "海棗", "海藻"}, ["hāluó"] = { "哈囉", "哈羅"}, ["hánchen"] = { "寒傖", "寒磣"}, ["hánguó"] = { "汗國", "韓國"}, ["hánliú"] = { "寒流", "韓流"}, ["hànshì"] = { "憾事", "漢室"}, ["hánshòu"] = { "函售", "函授"}, ["hánshuǐ"] = { "含水", "寒水"}, ["hànshuǐ"] = { "汗水", "漢水"}, ["hānshuì"] = { "酣睡", "鼾睡"}, ["hányì"] = { "含意", "含義", "寒意"}, ["hányǒu"] = { "含有", "涵有"}, ["hànzì"] = { "汗漬", "漢字"}, ["hàodà"] = { "好大", "浩大"}, ["hàojié"] = { "浩劫", "耗竭"}, ["hǎojiǔ"] = { "好久", "好酒"}, ["hàohàn"] = { "浩瀚", "浩汗", "浩涆", "晧旰", "皓旰", "㵆旰", "滈汗"}, ["hàohào"] = { "昊昊", "浩浩", "皓皓", "晧晧", "滈滈", "㵆㵆", "鎬鎬", "皞皞", "顥顥", "灝灝", "號號"}, ["hàorán"] = { "浩然", "昊然", "皓然", "晧然"}, ["háoqì"] = { "號泣", "豪氣"}, ["hàoqì"] = { "浩氣", "顥氣", "灝氣"}, ["hàozi"] = { "耗子", "號子"}, ["háozi"] = { "蠔子", "貉子"}, ["hècǎoyá"] = { "鶴草牙", "鶴草芽"}, ["hécháng"] = { "何嘗", "禾場"}, ["héchàng"] = { "合唱", "和暢"}, ["héchéngqì"] = { "合成器", "合成氣"}, ["hédào"] = { "河道", "禾稻"}, ["hédelái"] = { "合得來", "和得來"}, ["hégān"] = { "何干", "核苷"}, ["hégǔ"] = { "合股", "和鼓", "河谷", "頜骨"}, ["héhòu"] = { "何后", "合後"}, ["hēihé"] = { "黑河", "黑盒"}, ["hēizhì"] = { "黑痣", "黑質"}, ["héliú"] = { "合流", "河流"}, ["hémǎ"] = { "河馬", "荷馬"}, ["hémiáo"] = { "何苗", "禾苗"}, ["hénggémó"] = { "橫膈膜", "橫隔膜"}, ["hénggémò"] = { "橫膈膜", "橫隔膜"}, ["héngliáng"] = { "橫樑", "衡量"}, ["héngshān"] = { "恆山", "衡山"}, ["héngxīn"] = { "恆心", "橫心"}, ["hérén"] = { "何人", "核仁"}, ["héshān"] = { "合山", "河山"}, ["héshì"] = { "何事", "合適", "核示", "核試"}, ["héshí"] = { "何時", "和食", "核實"}, ["hésuàn"] = { "合算", "核算"}, ["hétáng"] = { "核糖", "河塘", "荷塘"}, ["héxī"] = { "和息", "河西", "荷西"}, ["héxiān"] = { "合纖", "河鮮"}, ["héxǔ"] = { "何許", "和煦"}, ["héyì"] = { "何意", "合意"}, ["héyuè"] = { "合樂", "荷月"}, ["héyuē"] = { "合約", "和約"}, ["hézhǐ"] = { "何止", "和紙"}, ["hézì"] = { "何自", "合字"}, ["hézǐ"] = { "合子", "核子"}, ["hézi"] = { "合子", "盒子"}, ["hóngcháng"] = { "紅場", "紅腸"}, ["hóngcháo"] = { "紅潮", "鴻巢"}, ["hóngdà"] = { "宏大", "洪大"}, ["hōngdòng"] = { "哄動", "轟動"}, ["hóngdūlāsī"] = { "宏都拉斯", "洪都拉斯"}, ["hóngmáo"] = { "紅毛", "鴻毛"}, ["hōngpéijī"] = { "烘培機", "烘培雞"}, ["hóngzǎo"] = { "紅棗", "紅藻", "鴻藻"}, ["hòubèi"] = { "後備", "後背", "後輩"}, ["hòubù"] = { "後步", "後部"}, ["hòudài"] = { "厚待", "後代"}, ["hòujì"] = { "後繼", "後記"}, ["hòuliáng"] = { "後梁", "後涼"}, ["hòuqī"] = { "後妻", "後期"}, ["hòuqín"] = { "後勤", "後秦"}, ["hòushēng"] = { "厚生", "後生"}, ["hòushì"] = { "後世", "後事"}, ["hòusòng"] = { "候送", "後送"}, ["hòutáng"] = { "後唐", "後堂"}, ["hòuwèi"] = { "厚味", "後衛"}, ["hòuyì"] = { "厚意", "后羿", "後裔"}, ["hòuyuán"] = { "後園", "後援"}, ["hóuzi"] = { "猴子", "瘊子"}, ["hòuzuò"] = { "后座", "後座"}, ["huàcè"] = { "畫冊", "畫策"}, ["huādiàn"] = { "花店", "花鈿"}, ["huàfēn"] = { "劃分", "化分"}, ["huàgōng"] = { "化工", "畫供", "畫工"}, ["huāhuì"] = { "花卉", "花會"}, ["huáigǔ"] = { "懷古", "踝骨"}, ["huājiàn"] = { "花劍", "花見"}, ["huājiāo"] = { "花椒", "花膠"}, ["huājuǎn"] = { "花卷", "花捲"}, ["huàméi"] = { "畫眉", "話梅"}, ["huánbào"] = { "環抱", "還報"}, ["huángdì"] = { "皇帝", "黃帝"}, ["huánggāng"] = { "皇綱", "黃岡"}, ["huánghuò"] = { "惶惑", "黃禍"}, ["huángjīn"] = { "黃巾", "黃金"}, ["huángjūn"] = { "皇軍", "蝗軍", "黃軍"}, ["huánglí"] = { "黃梨", "黃鸝"}, ["huánglián"] = { "黃蓮", "黃連"}, ["huāngluàn"] = { "慌亂", "荒亂"}, ["huángqí"] = { "黃旗", "黃芪"}, ["huángquán"] = { "皇權", "黃泉"}, ["huángshū"] = { "皇叔", "黃書"}, ["huángtiān"] = { "皇天", "黃天"}, ["huánqiú"] = { "寰球", "環球"}, ["huànshù"] = { "宦豎", "幻術"}, ["huānxīn"] = { "歡心", "歡欣"}, ["huànyī"] = { "換衣", "浣衣"}, ["huányuán"] = { "轘轅", "還原"}, ["huāqí"] = { "花旗", "花期"}, ["huāshì"] = { "花市", "花式"}, ["huáshuǐ"] = { "划水", "滑水"}, ["huāxù"] = { "花序", "花絮"}, ["huāyào"] = { "花葯", "花藥"}, ["huàyīn"] = { "華陰", "話音"}, ["huàyǔ"] = { "化雨", "話語"}, ["huàyuán"] = {"畫圓", "化緣"}, ["huàzhuāng"] = { "化妝", "化裝"}, ["huàzhuāngshì"] = { "化妝室", "化裝室"}, ["huàzhuāngshǐ"] = { "化妝室", "化裝室"}, ["húbǐng"] = { "胡餅", "胡饼"}, ["húchòu"] = { "狐臭", "胡臭"}, ["húfēng"] = { "胡峰", "胡蜂"}, ["hūhū"] = { "乎乎", "呼呼"}, ["huì'ān"] = { "惠安", "會安"}, ["huícháo"] = { "回朝", "回潮"}, ["huìdōng"] = { "惠東", "會東"}, ["huìfēng"] = { "惠風", "匯豐"}, ["huífù"] = { "回復", "回覆"}, ["huìhé"] = { "匯合", "會合"}, ["huíhé"] = { "回合", "回紇"}, ["huìhuà"] = { "匯劃", "會話", "繪畫"}, ["huìjí"] = { "會籍", "會集", "彙集", "匯集"}, ["huìjù"] = { "匯聚", "會聚"}, ["huījūn"] = { "揮軍", "麾軍"}, ["huíshēng"] = { "回升", "回生", "回聲"}, ["huìwù"] = { "會務", "會悟", "會晤", "穢物"}, ["huíxiǎng"] = { "回想", "迴響"}, ["huíxiāng"] = { "回鄉", "茴香"}, ["huìyǎn"] = { "匯演", "慧眼", "會演"}, ["huíyì"] = { "回憶", "回譯"}, ["huìyì"] = { "會意", "會議"}, ["húláng"] = { "狐狼", "胡狼"}, ["hūlāquān"] = { "呼啦圈", "呼拉圈"}, ["hūléi"] = { "呼雷", "忽雷"}, ["hùndùn"] = { "混沌", "混淪"}, ["hùnhé"] = { "混合", "混和"}, ["húnshuǐmōyú"] = { "混水摸魚", "渾水摸魚"}, ["huǒbàn"] = { "伙伴", "火伴"}, ["huǒbào"] = { "火暴", "火爆"}, ["huǒjì"] = { "夥計", "夥記"}, ["huǒjù"] = { "火具", "火炬", "火鋸"}, ["huòluàn"] = { "禍亂", "霍亂"}, ["huǒqì"] = { "火器", "火氣"}, ["huòrán"] = { "或然", "砉然"}, ["huǒshí"] = { "伙食", "火石"}, ["huòshì"] = { "或是", "獲釋", "禍事"}, ["hūshào"] = { "呼哨", "唿哨", "忽哨"}, ["hùshì"] = { "怙恃", "護士"}, ["hǔshì"] = { "虎勢", "虎視"}, ["hútú"] = { "糊塗", "胡塗"}, ["húwéi"] = { "胡为", "胡為"}, ["hūyù"] = { "呼籲", "淴浴"}, ["hùzhào"] = { "護照", "護罩"}, ["húzhōu"] = { "湖州", "胡謅"}, ["jī'ānsuān"] = { "肌氨酸", "肌胺酸"}, ["jī'è"] = { "積惡", "飢餓"}, ["jì'ér"] = { "既而", "繼而"}, ["jiābīn"] = { "佳賓", "嘉賓"}, ["jiācháng"] = { "加長", "家常"}, ["jiāfǎ"] = { "加法", "家法"}, ["jiāfǎng"] = { "家紡", "家訪"}, ["jiāfèng"] = { "加俸", "夾縫"}, ["jiāgōng"] = { "加工", "夾攻"}, ["jiágǔ"] = { "夾谷", "頰骨"}, ["jiǎgǔ"] = { "甲骨", "胛骨"}, ["jiājī"] = { "佳績", "夾擊"}, ["jiājì"] = { "佳績", "家伎"}, ["jiājù"] = { "佳句", "加劇", "夾具", "家具"}, ["jiàlǎo"] = { "㗎佬", "架佬"}, ["jiālìlüè"] = { "伽利略", "加利略"}, ["jiǎliú'ānsuān"] = { "甲硫氨酸", "甲硫胺酸"}, ["jiāmiǎn"] = { "加冕", "嘉勉"}, ["jiānà"] = { "加納", "迦納"}, ["jiànbié"] = { "鑑別", "鑒別", "餞別"}, ["jiǎncè"] = { "檢測", "簡冊"}, ["jiǎnchá"] = { "檢察", "檢查"}, ["jiàncháng"] = { "見長", "鍵長"}, ["jiǎnchú"] = { "剪除", "減除"}, ["jiàndǎng"] = { "建檔", "建黨"}, ["jiàndào"] = { "劍道", "見到"}, ["jiàndé"] = { "建德", "見得"}, ["jiǎnfǎ"] = { "剪髮", "減法"}, ["jiǎngdào"] = { "講到", "講道"}, ["jiàngé"] = { "劍閣", "間隔"}, ["jiānghuáng"] = { "姜黃", "薑黃"}, ["jiāngjiè"] = { "江界", "疆界"}, ["jiǎnglǐ"] = { "講理", "講禮"}, ["jiàngshì"] = { "將士", "降世"}, ["jiāngù"] = { "兼顧", "堅固"}, ["jiānguǒ"] = { "堅果", "尖果"}, ["jiāngyù"] = { "將欲", "疆域"}, ["jiǎnhuà"] = { "簡化", "鹼化"}, ["jiànhuò"] = { "間或", "賤貨"}, ["jiànjī"] = { "劍擊", "見機"}, ["jiànjí"] = { "劍擊", "鍵級"}, ["jiànjiàn"] = { "件件", "僭建", "漸漸", "濺濺"}, ["jiānjiān"] = { "尖尖", "戔戔", "濺濺"}, ["jiànjiàng"] = { "健將", "賤降"}, ["jiānjiè"] = { "尲尬", "尷尬"}, ["jiǎnjié"] = { "簡捷", "簡潔"}, ["jiànjìn"] = { "漸近", "漸進"}, ["jiānjù"] = { "兼具", "艱巨", "間距"}, ["jiānláo"] = { "堅牢", "監牢"}, ["jiānlì"] = { "尖利", "尖厲"}, ["jiànlì"] = { "建立", "監利"}, ["jiǎnpǔ"] = { "儉樸", "簡樸", "簡譜"}, ["jiānrèn"] = { "兼任", "堅韌"}, ["jiǎnshěng"] = { "儉省", "減省"}, ["jiànshì"] = { "建市", "漸逝", "見識", "鑑識"}, ["jiànshí"] = { "見識", "鑑識"}, ["jiānshǒu"] = { "堅守", "監守"}, ["jiànshù"] = { "劍術", "建樹"}, ["jiǎnsù"] = { "減速", "簡素"}, ["jiǎnsuō"] = { "減縮", "簡縮"}, ["jiànwàng"] = { "健忘", "健旺"}, ["jiànwǔgūniang"] = { "見五姑娘", "見伍姑娘"}, ["jiànwǔgūniáng"] = { "見五姑娘", "見伍姑娘"}, ["jiānxiǎn"] = { "奸險", "艱險"}, ["jiànxiào"] = { "見效", "見笑"}, ["jiànxíng"] = { "間行", "餞行"}, ["jiànyán"] = { "腱炎", "踐言"}, ["jiànyì"] = { "建議", "諫議"}, ["jiǎnyì"] = { "檢疫", "簡易"}, ["jiànyú"] = { "劍魚", "箭魚", "見於", "鑒於"}, ["jiǎnyuē"] = { "儉約", "簡約"}, ["jiànzài"] = { "健在", "艦載"}, ["jiànzhèng"] = { "見證", "鑒證", "建政", "鍵政"}, ["jiānzhí"] = { "兼職", "堅執"}, ["jiànzhú"] = { "建築", "箭竹"}, ["jiǎnzi"] = { "剪子", "繭子", "趼子"}, ["jiàochē"] = { "叫車", "轎車"}, ["jiǎochē"] = { "絞車", "腳車"}, ["jiāodài"] = { "交代", "交待", "膠帶", "膠袋"}, ["jiāodiǎn"] = { "交點", "焦點"}, ["jiāoguàn"] = { "嬌慣", "澆灌"}, ["jiāohǎo"] = { "交好", "姣好"}, ["jiāohuì"] = { "交匯", "交會"}, ["jiàohuì"] = { "教會", "教誨"}, ["jiāojí"] = { "交集", "焦急"}, ["jiǎojià"] = { "絞架", "腳架"}, ["jiàomǔ"] = { "教母", "酵母"}, ["jiāoqì"] = { "嬌氣", "驕氣"}, ["jiǎoqiú"] = { "腳球", "角球"}, ["jiǎosè"] = { "腳色", "角色"}, ["jiàoshì"] = { "教士", "教室"}, ["jiàoshòu"] = { "叫獸", "教授"}, ["jiāoshuǐ"] = { "澆水", "膠水"}, ["jiāotán"] = { "交談", "跤壇"}, ["jiāoxīn"] = { "交心", "焦心"}, ["jiāoyì"] = { "交易", "交誼"}, ["jiàoyì"] = { "教益", "教義"}, ["jiāoyóu"] = { "交遊", "焦油", "郊遊"}, ["jiàoyù"] = { "教育", "教諭"}, ["jiāozào"] = { "焦躁", "驕躁"}, ["jiàozhèng"] = { "教正", "校正"}, ["jiāozhǐ"] = { "交趾", "交阯"}, ["jiǎozhǐ"] = { "腳指", "腳趾"}, ["jiāozhuó"] = { "焦灼", "膠著/胶着"}, ["jiǎozi"] = { "角子", "餃子"}, ["jiàozuò"] = { "叫作", "叫做"}, ["jiāpéng"] = { "加彭", "加蓬"}, ["jiārén"] = { "佳人", "家人"}, ["jiāsāir"] = { "加塞兒", "夾塞兒"}, ["jiāshā"] = { "加沙", "袈裟"}, ["jiāshēng"] = { "夾生", "家生"}, ["jiǎshì"] = { "假釋", "甲士"}, ["jiāshì"] = { "家世", "家事", "家室"}, ["jiāshǐ"] = { "家史", "家室"}, ["jiāshǔ"] = { "家屬", "家鼠"}, ["jiātíngyǐngyuàn"] = { "家庭劇院", "家庭影院"}, ["jiāxīn"] = { "加薪", "夾心"}, ["jiāyā"] = { "加壓", "家鴨"}, ["jiāyáo"] = { "佳餚", "嘉殽"}, ["jiāyīn"] = { "佳音", "加音"}, ["jiàzhí"] = { "價值", "價直"}, ["jiāzi"] = { "夾子", "家子"}, ["jiázi"] = { "夾子", "鋏子"}, ["jiāzī"] = { "家貲", "家資"}, ["jíbiàn"] = { "即便", "急所", "急變"}, ["jībiàn"] = { "機變", "激變", "畸變"}, ["jīcháng"] = { "機場", "雞腸", "飢腸"}, ["jìchéng"] = { "既成", "繼承", "計程"}, ["jídà"] = { "吉大", "極大"}, ["jídì"] = { "及第", "極地"}, ["jīdì"] = { "基地", "跡地"}, ["jīdiǎn"] = { "基點", "績點"}, ["jīdiàn"] = { "機電", "積澱"}, ["jìdiǎn"] = { "祭典", "績點"}, ["jīdòng"] = { "機動", "激動"}, ["jídù"] = { "嫉妒", "極度"}, ["jìdù"] = { "季度", "忌妒"}, ["jīdú"] = { "機讀", "緝毒"}, ["jiéchéng"] = { "竭誠", "結城", "結成"}, ["jiècí"] = { "介詞", "借詞"}, ["jiēdào"] = { "接到", "街道"}, ["jièdì"] = { "借地", "芥蒂"}, ["jiědú"] = { "解毒", "解瀆", "解讀"}, ["jièdú"] = { "戒毒", "借讀"}, ["jiěfū"] = { "姊夫", "姐夫"}, ["jiégòu"] = { "結搆", "結構"}, ["jiéhé"] = { "結合", "結核"}, ["jiéjiǎn"] = { "節儉", "節減"}, ["jiéjié"] = { "孑孑", "節節", "結節"}, ["jiéjìng"] = { "捷徑", "潔淨"}, ["jiējǐng"] = { "街井", "街景"}, ["jiékè"] = { "傑克", "捷克"}, ["jièkǒu"] = { "戒口", "界口", "藉口"}, ["jiēkǒu"] = { "接口", "街口"}, ["jièlán"] = { "芥藍", "芥蘭"}, ["jiélù"] = { "截路", "節錄"}, ["jiēlù"] = { "揭露", "街路"}, ["jiěmèi"] = { "姊妹", "姐妹"}, ["jièmiàn"] = { "介面", "界面"}, ["jiémó"] = { "結膜", "羯磨"}, ["jiérán"] = { "孑然", "截然"}, ["jièrù"] = { "介入", "借入"}, ["jiēshì"] = { "揭示", "皆是", "街市"}, ["jiéshí"] = { "潔食", "碣石", "節食", "結石", "結識"}, ["jiētóu"] = { "接頭", "街頭"}, ["jièxiàn"] = { "界線", "界限"}, ["jièyì"] = { "介意", "借譯"}, ["jièyǐ"] = { "借以", "藉以"}, ["jiéyíng"] = { "劫營", "結營"}, ["jiéyú"] = { "節餘", "結餘"}, ["jièzhǐ"] = { "戒指", "界址"}, ["jiézhì"] = { "截至", "節制"}, ["jièzhù"] = { "借住", "借助"}, ["jièzǐ"] = { "介子", "芥子"}, ["jìfǎ"] = { "技法", "記法"}, ["jīfā"] = { "擊發", "激發"}, ["jīfèn"] = { "激奮", "激憤"}, ["jīfěn"] = { "虀粉", "雞粉"}, ["jìgōng"] = { "技工", "祭宮"}, ["jīgǔ"] = { "雞骨", "擊鼓", "稽古"}, ["jīguān"] = { "機關", "箕關", "雞冠"}, ["jìhèn"] = { "忌恨", "記恨"}, ["jìhuì"] = { "季會", "忌諱", "濟惠", "計會", "際會"}, ["jíjí"] = { "伋伋", "岌岌"}, ["jījī"] = { "唧唧", "雞雞", "GG"}, ["jījí"] = { "基極", "積極"}, ["jījiàn"] = { "基建", "擊劍", "機件", "肌腱"}, ["jíjiàn"] = { "急件", "擊劍"}, ["jījiǎo"] = { "犄角", "雞腳"}, ["jījiǎozhīshì"] = { "掎角之勢", "犄角之勢"}, ["jíjù"] = { "急劇", "急遽", "極具", "集句", "集聚"}, ["jīkǎo"] = { "機考", "稽考"}, ["jíkè"] = { "即刻", "極客"}, ["jīlè"] = { "羈勒", "雞肋"}, ["jílì"] = { "吉利", "極力"}, ["jīlǐ"] = { "機理", "肌理"}, ["jīlì"] = { "激勵", "肌力"}, ["jìliàng"] = { "劑量", "計量"}, ["jīliú"] = { "激流", "稽留", "羈留", "肌瘤"}, ["jīlǜ"] = { "幾率", "機率"}, ["jìlù"] = { "紀錄", "記錄"}, ["jílù"] = { "輯錄", "集錄"}, ["jìlùpiàn"] = { "紀錄片", "記錄片"}, ["jìlùpiān"] = { "紀錄片", "記錄片"}, ["jímáng"] = { "急忙", "疾忙"}, ["jímò"] = { "寂寞", "籍沒"}, ["jīnbó"] = { "金帛", "金箔"}, ["jīnchán"] = { "金蟬", "金蟾"}, ["jìncháo"] = { "晉朝", "進朝"}, ["jìnchéng"] = { "晉城", "進城", "進程"}, ["jìndài"] = { "晉代", "近代"}, ["jīng'ānsuān"] = { "精氨酸", "精胺酸"}, ["jīngchéng"] = { "京城", "精誠"}, ["jìngcí"] = { "敬詞", "敬辭"}, ["jīngdòng"] = { "晶洞", "驚動"}, ["jīngdù"] = { "精度", "經度"}, ["jǐngguān"] = { "景觀", "警官"}, ["jīnghuá"] = { "京華", "精華"}, ["jìngjì"] = { "競技", "靜寂"}, ["jīngjì"] = { "經濟", "經紀", "驚悸"}, ["jīngjí"] = { "經籍", "荊棘"}, ["jīngjīng"] = { "京京", "晶晶"}, ["jīngjù"] = { "京劇", "驚懼"}, ["jīngjué"] = { "驚厥", "驚覺"}, ["jìngkuàng"] = { "境況", "鏡框"}, ["jīnglì"] = { "晶粒", "精力", "經歷"}, ["jīngliàn"] = { "精煉", "精練"}, ["jìngluán"] = { "痙攣", "鏡鸞"}, ["jīnglún"] = { "經綸", "腈綸"}, ["jìngmài"] = { "競賣", "靜脈"}, ["jìngōng"] = { "進宮", "進攻"}, ["jīngqí"] = { "旌旗", "經期", "驚奇"}, ["jǐngqū"] = { "景區", "警區"}, ["jīngquè"] = { "京闕", "精確"}, ["jīngshòu"] = { "精瘦", "經受", "經售"}, ["jīngshū"] = { "經書", "驚輸"}, ["jìngtóu"] = { "勁頭", "鏡頭"}, ["jīngǔ"] = { "今古", "筋骨", "金鼓"}, ["jīnguì"] = { "矜貴", "金貴"}, ["jīngwèi"] = { "精衛", "驚畏"}, ["jǐngwù"] = { "丼物", "井物", "景物"}, ["jīngxì"] = { "京戲", "精細"}, ["jīngxiàn"] = { "涇縣", "經線"}, ["jǐngxiàng"] = { "景象", "頸項"}, ["jīngxīn"] = { "精心", "經心", "驚心"}, ["jīngyàn"] = { "經驗", "驚豔"}, ["jìngyǎng"] = { "敬仰", "靜養"}, ["jīngyè"] = { "兢業", "精液"}, ["jīngyì"] = { "京邑", "精液", "驚異"}, ["jīngyíng"] = { "晶瑩", "經營"}, ["jīngyīng"] = { "精英", "菁英"}, ["jīngyóu"] = { "精油", "經由", "鯨油"}, ["jìngyù"] = { "境域", "境遇"}, ["jìngyǔ"] = { "敬語", "靖宇"}, ["jǐngyuán"] = { "井原", "警員"}, ["jìngzhí"] = { "徑直", "淨值"}, ["jīngzhì"] = { "晶質", "精緻", "精製"}, ["jīngzhí"] = { "晶質", "驚蟄"}, ["jìngzhòng"] = { "敬重", "淨重"}, ["jīngzú"] = { "京族", "晶族"}, ["jìnjí"] = { "晉級", "進擊"}, ["jìnjī"] = { "近畿", "進擊"}, ["jìnjiàn"] = { "勁健", "晉見", "覲見", "進見", "進諫"}, ["jǐnjǐn"] = { "僅僅", "緊緊"}, ["jīnjīn"] = { "斤斤", "津津"}, ["jìnjiǔ"] = { "禁酒", "進酒"}, ["jìnjù"] = { "晉劇", "進據"}, ["jīnjú"] = { "金桔", "金橘"}, ["jìnjūn"] = { "禁軍", "進軍"}, ["jìnkěnéng"] = { "儘可能", "盡可能"}, ["jǐnkěnéng"] = { "儘可能", "盡可能"}, ["jìnlái"] = { "近來", "進來"}, ["jìnlì"] = { "盡力", "禁例"}, ["jìnliàng"] = { "儘量", "盡量"}, ["jìnnián"] = { "盡年", "近年"}, ["jìnqián"] = { "近前", "進前"}, ["jīnquè"] = { "金闕", "金雀"}, ["jìnrù"] = { "浸入", "進入"}, ["jīnshān"] = { "津山", "金山"}, ["jīnshì"] = { "今世", "今市", "津市"}, ["jìnshí"] = { "浸蝕", "禁食", "進食"}, ["jìnshì"] = { "近世", "近侍", "近視", "進士"}, ["jīnshǔ"] = { "金屬", "金薯"}, ["jìnshuǐ"] = { "浸水", "進水"}, ["jìntóu"] = { "勁頭", "盡頭"}, ["jìnǚ"] = { "妓女", "繼女"}, ["jìnxíng"] = { "盡行", "禁行", "進行"}, ["jìnyīn"] = { "近因", "近音"}, ["jìnyù"] = { "浸浴", "禁慾", "禁欲"}, ["jìnzǎo"] = { "儘早", "尽早", "盡早"}, ["jìnzhǐ"] = { "禁指", "禁止"}, ["jìnzhōng"] = { "晉中", "盡忠"}, ["jípò"] = { "急迫", "擊破"}, ["jíqí"] = { "及其", "極其"}, ["jīqíng"] = { "基情", "激情"}, ["jíquán"] = { "極權", "集權"}, ["jírì"] = { "即日", "吉日", "集日"}, ["jìrì"] = { "忌日", "祭日"}, ["jīròu"] = { "肌肉", "雞肉"}, ["jīsè"] = { "基色", "飢色"}, ["jīshēn"] = { "機身", "躋身"}, ["jìshēng"] = { "寄生", "計生"}, ["jíshì"] = { "即事", "即是", "吉事", "吉士", "急事", "集市"}, ["jíshí"] = { "即時", "即食", "及時"}, ["jìshí"] = { "寄食", "紀實", "計時", "記實"}, ["jǐshí"] = { "幾十", "幾時"}, ["jìshì"] = { "既是", "濟事", "記事"}, ["jíshǒu"] = { "棘手", "疾首"}, ["jīshù"] = { "基數", "奇數"}, ["jìshù"] = { "技術", "紀述", "計數", "記述"}, ["jǐshuǐ"] = { "濟水", "給水"}, ["jísù"] = { "即速", "急速"}, ["jītǐ"] = { "機體", "肌體"}, ["jītū"] = { "激凸", "激突"}, ["jiǔcài"] = { "酒菜", "韭菜"}, ["jiùfàn"] = { "就範", "就飯"}, ["jiǔjià"] = { "酒架", "酒駕"}, ["jiūjiū"] = { "啾啾", "赳赳"}, ["jiǔpù"] = { "酒舖", "酒鋪"}, ["jiǔquán"] = { "九泉", "酒泉"}, ["jiǔshí"] = { "九十", "酒石", "酒食"}, ["jiùshì"] = { "就事", "就勢", "就是", "就試", "救世", "救市", "舊事", "舊市", "舊式"}, ["jiùshí"] = { "就食", "舊時"}, ["jiùyè"] = { "就業", "舊業"}, ["jiùyì"] = { "就義", "舊譯"}, ["jiùyī"] = { "就醫", "舊衣"}, ["jiùzhì"] = { "救治", "舊制"}, ["jiǔzuò"] = { "久坐", "酒坐"}, ["jìwàng"] = { "冀望", "寄望"}, ["jíwéi"] = { "即為", "極為"}, ["jíwù"] = { "及物", "急務"}, ["jìwù"] = { "祭物", "霽霧"}, ["jíxí"] = { "即席", "急襲"}, ["jíxián"] = { "嫉賢", "集賢"}, ["jìxiào"] = { "技校", "績效"}, ["jīxiào"] = { "積效", "績效", "譏笑"}, ["jíxìng"] = { "即興", "急性", "極性"}, ["jíxíng"] = { "急行", "極刑", "疾行"}, ["jīxíng"] = { "機型", "畸形"}, ["jìxù"] = { "繼續", "記敘"}, ["jīxuě"] = { "積雪", "雞血"}, ["jīyā"] = { "積壓", "羈押"}, ["jíyè"] = { "即夜", "極夜"}, ["jìyì"] = { "寄意", "技藝", "計議", "記憶"}, ["jīyì"] = { "機翼", "機譯"}, ["jīyīn"] = { "基因", "基音"}, ["jìyǒu"] = { "既有", "計有"}, ["jīyù"] = { "機遇", "積鬱"}, ["jǐyǔ"] = { "給予", "給與"}, ["jìyú"] = { "覬覦", "鯽魚"}, ["jízǎo"] = { "即早", "及早"}, ["jìzhě"] = { "妓者", "記者"}, ["jízhì"] = { "及至", "極致"}, ["jīzhì"] = { "基質", "機制", "機製", "機智"}, ["jìzhōu"] = { "冀州", "濟州"}, ["jízhòu"] = { "急驟", "極晝"}, ["jǐzi"] = { "蟣子", "麂子"}, ["jùbiàn"] = { "劇變", "巨變", "聚變"}, ["jùdiǎn"] = { "句點", "據點"}, ["jùdú"] = { "劇毒", "句讀"}, ["juébù"] = { "決不", "絕不"}, ["juédòu"] = { "決鬥", "角鬥"}, ["juéjì"] = { "決計", "絕技", "絕跡"}, ["juékǒu"] = { "決口", "絕口"}, ["juésè"] = { "絕色", "腳色", "角色"}, ["juéshì"] = { "爵士", "絕世"}, ["juéyì"] = { "決意", "決議"}, ["juēzuǐ"] = { "噘嘴", "撅嘴"}, ["jūgōng"] = { "居功", "鞠躬"}, ["jùjí"] = { "劇集", "聚集", "巨集"}, ["jùjiāo"] = { "聚焦", "鋸鮫"}, ["jūliú"] = { "居留", "拘留"}, ["jùlù"] = { "巨鹿", "鉅鹿"}, ["jǔmù"] = { "櫸木", "舉目"}, ["jūnfāng"] = { "均方", "軍方"}, ["jūngōng"] = { "軍功", "軍工"}, ["jūnlǐ"] = { "君理", "軍禮"}, ["jūnlì"] = { "軍力", "軍吏"}, ["jūnliè"] = { "皸裂", "龜裂"}, ["jùnqiào"] = { "俊俏", "峻峭"}, ["jūnshì"] = { "均勢", "軍事", "軍勢", "軍士"}, ["jūnyī"] = { "軍衣", "軍醫"}, ["jūshì"] = { "居士", "居室"}, ["jǔshì"] = { "舉世", "舉事"}, ["jùwúbà"] = { "巨毋霸", "巨無霸"}, ["jùxíng"] = { "句型", "巨型"}, ["jǔxíng"] = { "矩形", "舉行"}, ["jùyě"] = { "巨野", "鉅野"}, ["jūzhù"] = { "居住", "拘住"}, ["jùzi"] = { "句子", "鋸子"}, ["júzi"] = { "局子", "橘子"}, ["kǎbùqínuò"] = { "卡布其諾", "卡布奇諾"}, ["kāfēiwū"] = { "咖啡屋", "咖啡烏"}, ["kāidòng"] = { "開凍", "開動"}, ["kāigōng"] = { "開工", "開弓"}, ["kāiluó"] = { "開羅", "開鑼"}, ["kāiqiāng"] = { "開槍", "開腔"}, ["kāishì"] = { "揩拭", "開市", "開示", "開釋"}, ["kāishǐ"] = { "開始", "開駛"}, ["kāiyǎn"] = { "開演", "開眼"}, ["kānchá"] = { "勘察", "勘查"}, ["kànghàn"] = { "亢旱", "抗旱"}, ["kànglì"] = { "伉儷", "抗力"}, ["kàngyán"] = { "抗炎", "抗癌"}, ["kàngyányào"] = { "抗炎藥", "抗癌藥"}, ["kǎnjià"] = { "侃價", "砍價"}, ["kānwù"] = { "刊物", "刊誤", "勘誤"}, ["kānwùbiǎo"] = { "刊誤表", "勘誤表"}, ["kànzhòng"] = { "看中", "看重"}, ["kànzuò"] = { "看作", "看做"}, ["kǎobèi"] = { "拷貝", "考背"}, ["kǎochá"] = { "考察", "考查"}, ["kǎoshì"] = { "考試", "考釋"}, ["kǎpéngtè"] = { "卡彭特", "卡朋特"}, ["kèbǎn"] = { "刻板", "刻版"}, ["kèběn"] = { "刻本", "課本"}, ["kěbǐ"] = { "可比", "可鄙"}, ["kèfú"] = { "克服", "客服"}, ["kèhuà"] = { "刻畫", "客話"}, ["kējì"] = { "科技", "科際"}, ["kějìng"] = { "可勁", "可敬"}, ["kēlì"] = { "苛吏", "顆粒"}, ["kěnqǐng"] = { "懇請", "肯綮"}, ["kèshí"] = { "刻石", "課時"}, ["kèshì"] = { "客室", "課室"}, ["kèshǐ"] = { "客室", "課室"}, ["kètáng"] = { "客堂", "課堂"}, ["kěwàng"] = { "可望", "渴望"}, ["kèzuò"] = { "客坐", "客座"}, ["kǒngbùfènzǐ"] = { "恐怖份子", "恐怖分子"}, ["kōngchéng"] = { "空乘", "空城"}, ["kōngdǎng"] = { "空擋", "空檔"}, ["kōngdàng"] = { "空檔", "空蕩"}, ["kōngyùn"] = { "空運", "空韻"}, ["kǒngjù"] = { "孔鋸", "恐懼"}, ["kōngtóu"] = { "空投", "空頭"}, ["kòngxián"] = { "控弦", "空閒"}, ["kǒngzhòu"] = { "孔伷", "孔宙"}, ["kǒubēi"] = { "口杯", "口碑"}, ["kǒufú"] = { "口服", "口福"}, ["kǒuxián"] = { "口弦", "口涎"}, ["kuāndài"] = { "寬帶", "寬待", "寬貸"}, ["kuànggōng"] = { "曠工", "礦工"}, ["kuāshì"] = { "誇示", "誇飾"}, ["kǔliàn"] = { "苦楝", "苦練"}, ["kùlún"] = { "庫倫", "庫侖"}, ["kuòyīnqì"] = { "擴陰器", "擴音器"}, ["kǔxīn"] = { "苦心", "苦辛"}, ["lài'ānsuān"] = { "賴氨酸", "賴胺酸"}, ["láifúzǐ"] = { "萊服子", "萊菔子"}, ["láishì"] = { "來世", "來勢"}, ["làjiāojiǎn"] = { "辣椒硷", "辣椒鹼"}, ["lāliàn"] = { "拉練", "拉鏈"}, ["làméi"] = { "臘梅", "蠟梅"}, ["lán'gān"] = { "欄杆", "闌干"}, ["lángān"] = { "欄杆", "闌干"}, ["làngdàng"] = { "浪蕩", "莨菪"}, ["lángzhōng"] = { "郎中", "閬中"}, ["lánlǚ"] = { "藍縷", "藍褸", "襤縷", "襤褸"}, ["lánquān"] = { "欄圈", "籃圈"}, ["lánsè"] = { "藍色", "蘭色"}, ["lǎogē"] = { "老哥", "老歌"}, ["lǎohuà"] = { "老化", "老話"}, ["lǎolao"] = { "姥姥", "老老"}, ["lǎomào"] = { "老眊", "老耄"}, ["lǎopǔ"] = { "老圃", "老譜"}, ["lǎoshì"] = { "老事", "老式", "老是", "老視"}, ["lǎoyāo"] = { "老妖", "老幺"}, ["lǎoye"] = { "姥爺", "老爺"}, ["léishè"] = { "鐳射", "雷射"}, ["léixiè"] = { "縲絏", "纍紲"}, ["léizhuì"] = { "累墜", "累贅"}, ["lěngmiàn"] = { "冷面", "冷麵"}, ["lèyì"] = { "勒抑", "樂意", "樂易"}, ["liáncí"] = { "聯詞", "連詞"}, ["liánduì"] = { "聯隊", "連隊"}, ["liánfáng"] = { "聯防", "蓮房"}, ["liàng'ānsuān"] = { "亮氨酸", "亮胺酸"}, ["liángjiàng"] = { "良匠", "良將"}, ["liànglì"] = { "亮麗", "量力"}, ["liánguàn"] = { "聯貫", "連貫"}, ["liángzhōu"] = { "梁州", "涼州"}, ["liánjié"] = { "廉潔", "聯結", "連結"}, ["liánjiē"] = { "聯接", "連接"}, ["liánlián"] = { "漣漣", "連連"}, ["liánluò"] = { "聯絡", "連絡"}, ["liánmèi"] = { "聯袂", "連袂"}, ["liánmián"] = { "聯綿", "連綿"}, ["liánmiáncí"] = { "聯綿詞", "連綿詞"}, ["liánmiánzì"] = { "聯綿字", "連綿字"}, ["liánmíng"] = { "聯名", "連名"}, ["liánpiān"] = { "聯翩", "連篇", "連翩"}, ["liánxì"] = { "聯繫", "連繫"}, ["liánxiāng"] = { "蓮厢", "蓮湘"}, ["liánxù"] = { "憐恤", "連續"}, ["liányīn"] = { "聯姻", "連音"}, ["liánzhèng"] = { "廉政", "廉正"}, ["liánzhuì"] = { "聯綴", "連綴"}, ["liánzòu"] = { "聯奏", "連奏"}, ["liáochéng"] = { "療程", "聊城"}, ["liáokuò"] = { "寥廓", "遼闊"}, ["liáoliáo"] = { "寥寥", "遼遼"}, ["liáoyuán"] = { "燎原", "遼源"}, ["lǐbàisì"] = { "禮拜四", "禮拜寺"}, ["lǐchéng"] = { "禮成", "里程"}, ["lìdōng"] = { "栗東", "立冬"}, ["liègǒu"] = { "獵狗", "鬣狗"}, ["lièshì"] = { "劣勢", "烈士"}, ["lìfǎ"] = { "曆法", "立法"}, ["lìhài"] = { "利害", "厲害"}, ["lìhuì"] = { "例會", "立繪"}, ["lìjí"] = { "痢疾", "立即"}, ["lìjiàn"] = { "利劍", "力薦"}, ["lìkè"] = { "力克", "立刻"}, ["līliluōluō"] = { "哩哩囉囉", "哩哩羅羅"}, ["lìmǎ"] = { "利馬", "立馬"}, ["lìmù"] = { "栃木", "櫪木"}, ["líncháng"] = { "林場", "臨場"}, ["línchǎng"] = { "林場", "臨場"}, ["línglíng"] = { "泠泠", "零陵"}, ["língmù"] = { "鈴木", "陵墓"}, ["língqǐn"] = { "陵寢", "靈寢"}, ["língrén"] = { "伶人", "凌人"}, ["lǐngshǔ"] = { "領屬", "領水"}, ["línguāng"] = { "燐光", "磷光"}, ["língyuán"] = { "陵園", "靈園"}, ["línhǎi"] = { "林海", "臨海"}, ["línhuǒ"] = { "林火", "磷火"}, ["línjìn"] = { "臨近", "鄰近"}, ["línjīng"] = { "鱗莖", "麟經"}, ["línlín"] = { "磷磷", "粼粼"}, ["línzhī"] = { "林芝", "磷脂"}, ["lìqì"] = { "利器", "立契"}, ["lìrì"] = { "曆日", "歷日"}, ["lìsè"] = { "厲色", "栗色"}, ["lìshān"] = { "立山", "酈山"}, ["lìshì"] = { "例示", "利市", "力士", "立式", "立誓"}, ["lìshí"] = { "歷時", "礫石"}, ["lìshū"] = { "曆書", "隸書"}, ["lǐshù"] = { "李樹", "禮數"}, ["lìshǔ"] = { "栗鼠", "隸屬"}, ["líshù"] = { "梨樹", "黎庶"}, ["lìsuǒ"] = { "俐索", "利索"}, ["liúbiàn"] = { "流便", "流變"}, ["liúbù"] = { "流布", "留步"}, ["liúhuà"] = { "留話", "硫化"}, ["liúlí"] = { "流離", "琉璃"}, ["liúlián"] = { "榴槤", "榴蓮", "榴連", "流連"}, ["liúliánguǒ"] = { "榴槤果", "榴蓮果", "榴連果"}, ["liúliúqiú"] = { "溜溜球", "遛遛球"}, ["liúmíng"] = { "流明", "留名"}, ["liúsù"] = { "流速", "留宿"}, ["liúxià"] = { "流下", "留下"}, ["liúyán"] = { "流言", "留言"}, ["liúyí"] = { "流移", "留遺"}, ["liǔyīn"] = { "柳蔭", "柳陰"}, ["liúzhì"] = { "流質", "留置"}, ["lìxià"] = { "立下", "立夏"}, ["lìxíng"] = { "例行", "力行", "厲行"}, ["lìyǎdé"] = { "利雅得", "利雅德"}, ["lìyì"] = { "利益", "立意"}, ["lǐyù"] = { "理喻", "禮遇"}, ["líyuán"] = { "梨園", "黎元"}, ["lìzhèng"] = { "例證", "立正"}, ["lìzhì"] = { "勵志", "吏治", "立志", "麗質"}, ["lǐzhì"] = { "理智", "禮制"}, ["lìzi"] = { "例子", "栗子"}, ["lóngchuān"] = { "瀧川", "龍川"}, ["lóngfèngtāi"] = { "龍鳳", "龍鳳胎"}, ["lóngniǎo"] = { "籠鳥", "隆鳥"}, ["lóngpánhǔjù"] = { "龍盤虎踞", "龍蟠虎踞"}, ["lóngyán"] = { "龍岩", "龍顏"}, ["lóngzhōng"] = { "隆中", "龍鍾"}, ["lóngzhōu"] = { "龍州", "龍舟"}, ["lóngzi"] = { "籠子", "聾子"}, ["lòusháo"] = { "漏勺", "漏杓"}, ["luànshì"] = { "亂世", "亂視"}, ["lùdǎo"] = { "鹿島", "鹿嶋"}, ["lùdé"] = { "路得", "路德"}, ["lùdéjì"] = { "盧德傳", "路得記"}, ["lüèguò"] = { "掠過", "略過"}, ["lúgānsīkè"] = { "盧干斯克", "盧甘斯克"}, ["lǜhuà"] = { "氯化", "綠化"}, ["lúhuì"] = { "盧會", "蘆薈"}, ["lùkuàng"] = { "路況", "路礦"}, ["lǚlì"] = { "履歷", "膂力"}, ["lùlù"] = { "碌碌", "轆轆", "陸路"}, ["lùmiàn"] = { "路面", "露面"}, ["luò'ānsuān"] = { "酪氨酸", "酪胺酸"}, ["luódédǎo"] = { "羅得島", "羅德島"}, ["luòdì"] = { "落地", "落第"}, ["luòjiāng"] = { "洛江", "酪漿"}, ["luólì"] = { "羅利", "蘿莉"}, ["luómǎ"] = { "羅馬", "騾馬"}, ["luòmǎ"] = { "落馬", "駱馬"}, ["luómǔ"] = { "羅姆", "螺母"}, ["luòpán"] = { "落盤", "落磐"}, ["luòshuǐ"] = { "洛水", "落水"}, ["luósī"] = { "羅斯", "螺絲", "螺螄"}, ["lǜqì"] = { "氯氣", "濾器"}, ["lùshàng"] = { "路上", "陸上"}, ["lǚshè"] = { "旅社", "旅舍"}, ["lǜshī"] = { "律師", "律詩"}, ["lǔshuǐ"] = { "滷水", "鹵水"}, ["lǚtú"] = { "捋荼", "旅途"}, ["lǚxíng"] = { "履行", "旅行"}, ["lǜyīn"] = { "綠茵", "綠陰"}, ["lùyòng"] = { "路用", "錄用"}, ["mǎ'ěrtā"] = { "馬爾他", "馬耳他"}, ["mǎ'ěrtārén"] = { "馬爾他人", "馬耳他人"}, ["mǎ'ěrtāyǔ"] = { "馬爾他語", "馬耳他語"}, ["mǎbù"] = { "馬布", "馬步"}, ["mǎchǐxiàn"] = { "馬齒莧", "马齿莧"}, ["mǎdèng"] = { "馬蹬", "馬鐙"}, ["máfēngbìng"] = { "痲瘋病", "麻風病"}, ["mǎfū"] = { "馬伕", "馬夫"}, ["màichōng"] = { "脈沖", "脈衝"}, ["màichū"] = { "賣出", "邁出"}, ["màijiā"] = { "賣家", "麥加"}, ["màijìn"] = { "賣勁", "邁進"}, ["májiàng"] = { "麻將", "麻醬"}, ["mǎlì"] = { "瑪利", "瑪莉", "瑪麗", "馬利", "馬力"}, ["mǎliè"] = { "馬列", "馬鬣"}, ["mǎlù"] = { "馬路", "馬陸", "馬鹿"}, ["mǎluó"] = { "馬鑼", "馬騾"}, ["māma"] = { "媽媽", "嬤嬤"}, ["mànchéng"] = { "曼城", "曼成"}, ["mángmáng"] = { "忙忙", "茫茫"}, ["mángrén"] = { "忙人", "盲人"}, ["mànmà"] = { "漫罵", "謾罵"}, ["mànmàn"] = { "慢慢", "漫漫"}, ["mànyóu"] = { "漫游", "漫遊"}, ["mǎnzú"] = { "滿族", "滿足"}, ["màomíng"] = { "冒名", "茂名"}, ["máotóu"] = { "毛頭", "矛頭"}, ["mǎyǎ"] = { "瑪雅", "馬雅"}, ["méicài"] = { "梅菜", "霉菜"}, ["měidì"] = { "美帝", "美的"}, ["méigāncài"] = { "梅乾菜", "霉乾菜"}, ["méijīngdǎcǎi"] = { "沒精打彩", "沒精打采"}, ["měilúnměihuàn"] = { "美倫美煥", "美輪美奐"}, ["méiméi"] = { "枚枚", "沒沒"}, ["méiqì"] = { "沒氣", "煤氣", "霉氣"}, ["měirén"] = { "每人", "美人"}, ["měishì"] = { "每事", "美事", "美式"}, ["měitóng"] = { "美桐", "美瞳"}, ["měiyì"] = { "美意", "美裔"}, ["měiyīnhépànfǎlánkèfú"] = { "美因河畔法蘭克福", "美茵河畔法蘭克福"}, ["méiyǔ"] = { "梅雨", "眉宇"}, ["měiyù"] = { "美玉", "美譽"}, ["měiyuán"] = { "美元", "美圓"}, ["měizhōu"] = { "每週", "美洲"}, ["méndì"] = { "門地", "門第"}, ["ménglóng"] = { "朦朧", "矇矓"}, ["méngméng"] = { "懞懞", "濛濛", "矇矇", "蒙蒙"}, ["měngrán"] = { "懵然", "猛然"}, ["méngtóng"] = { "艨艟", "蒙童"}, ["ménjìng"] = { "門徑", "門鏡"}, ["ménlián"] = { "門簾", "門聯"}, ["mì'ěr"] = { "密爾", "密耳"}, ["miànbǎn"] = { "面板", "麵板"}, ["miànfěn"] = { "面粉", "麵粉"}, ["miànjī"] = { "面積", "面肌", "面基", "面姬"}, ["miànjīn"] = { "面巾", "麵筋"}, ["miǎnlì"] = { "勉力", "勉勵"}, ["miánlián"] = { "綿聯", "綿連"}, ["miànpí"] = { "面皮", "麵皮"}, ["miànshì"] = { "面世", "面市", "面試"}, ["miàntān"] = { "面癱", "麵攤"}, ["miànxiàng"] = { "面向", "面相"}, ["miányáng"] = { "綿羊", "綿陽"}, ["miǎnyì"] = { "免役", "免疫"}, ["miàoyǔ"] = { "妙語", "廟宇"}, ["mìfēng"] = { "密封", "蜜蜂"}, ["mìjí"] = { "密集", "秘笈", "秘籍"}, ["mìjiàn"] = { "密件", "蜜餞"}, ["mílù"] = { "迷路", "麋鹿"}, ["mímàn"] = { "彌漫", "迷漫"}, ["mìmì"] = { "密密", "密祕", "汨汨", "祕密", "秘密"}, ["mínfáng"] = { "民房", "民防"}, ["míng'é"] = { "名額", "螟蛾"}, ["míngchá"] = { "明察", "茗茶"}, ["míngcì"] = { "名刺", "名次"}, ["míngjì"] = { "名妓", "名寄", "銘記"}, ["míngjiào"] = { "名叫", "鳴叫"}, ["míngjiǎoxiāo"] = { "鳴角梟", "鳴角鴞"}, ["míngjìng"] = { "明淨", "明鏡"}, ["mínglíng"] = { "名伶", "明靈", "螟蛉"}, ["míngmén"] = { "名門", "鳴門"}, ["míngmíng"] = { "明明", "溟溟"}, ["míngmù"] = { "名目", "明目", "瞑目"}, ["míngqì"] = { "冥器", "名氣", "明器"}, ["míngqǔ"] = { "名取", "名曲"}, ["míngr"] = { "名兒", "明兒"}, ["míngrén"] = { "名人", "明人"}, ["míngshì"] = { "名士", "明世", "明示", "盟誓"}, ["míngwén"] = { "明文", "銘文"}, ["míngxiǎng"] = { "冥想", "鳴響"}, ["míngxīng"] = { "明星", "明興"}, ["míngyán"] = { "名言", "明言"}, ["míngyù"] = { "名譽", "明喻"}, ["míngyuán"] = { "名園", "名媛"}, ["míngzhì"] = { "明智", "明治"}, ["míngzi"] = { "名字", "明子"}, ["mínjiāng"] = { "岷江", "閩江"}, ["mínshēng"] = { "民生", "民聲"}, ["mínyuè"] = { "民樂", "閩越"}, ["mìshǐ"] = { "密使", "密室", "秘史"}, ["mìshì"] = { "密室", "密市"}, ["mìshū"] = { "密書", "秘書"}, ["mìsīfótuó"] = { "蜜斯佛陀", "蜜絲佛陀"}, ["míwù"] = { "迷誤", "迷霧"}, ["mízhú"] = { "糜竺", "麋竺"}, ["móbǎn"] = { "模板", "模版"}, ["mócā"] = { "摩擦", "磨擦"}, ["mòdì"] = { "末帝", "驀地"}, ["mòfáng"] = { "磨坊", "磨房"}, ["mófāng"] = { "磨坊", "魔方"}, ["mòhé"] = { "墨盒", "漠河", "靺鞨"}, ["mólì"] = { "磨礪", "魔力"}, ["mòlín"] = { "墨林", "默林"}, ["mòlù"] = { "末路", "陌路"}, ["mòluò"] = { "沒落", "脈絡"}, ["mòmíngqímiào"] = { "莫名其妙", "莫明其妙"}, ["mómo"] = { "嬤嬤", "饃饃"}, ["mòmò"] = { "沒沒", "漠漠", "脈脈", "默默"}, ["mónàn"] = { "磨難", "魔難"}, ["mòqí"] = { "万俟", "末期"}, ["mòrán"] = { "漠然", "驀然", "默然"}, ["mòshì"] = { "末世", "沒世", "漠視", "默示"}, ["móshù"] = { "模數", "魔術"}, ["mòshuǐ"] = { "墨水", "沒水"}, ["móuqǔ"] = { "牟取", "謀取"}, ["móushì"] = { "謀事", "謀士"}, ["móxíng"] = { "模型", "模形"}, ["móyá"] = { "摩崖", "磨牙"}, ["mózhàng"] = { "魔杖", "魔障"}, ["mùbǎn"] = { "木板", "木版"}, ["múbǎn"] = { "模板", "模版"}, ["mùcháng"] = { "墓場", "牧場"}, ["mùchǎng"] = { "墓場", "牧場"}, ["mùdì"] = { "墓地", "目的"}, ["mùjī"] = { "木屐", "目擊"}, ["mǔjī"] = { "母機", "母雞"}, ["mùlín"] = { "睦鄰", "穆林"}, ["mùpái"] = { "木排", "木牌"}, ["mùqì"] = { "暮氣", "木器"}, ["mùqún"] = { "墓群", "牧群"}, ["mùshí"] = { "墓石", "木石"}, ["mùshī"] = { "木虱", "木蝨", "牧師"}, ["mùxiāng"] = { "木箱", "木香"}, ["mùzhì"] = { "墓誌", "木製"}, ["mǔzhǐ"] = { "拇指", "拇趾"}, ["nàhǎn"] = { "吶喊", "納罕"}, ["nàhóng"] = { "納鴻", "那鴻"}, ["nǎixī"] = { "奶昔", "奶西"}, ["náncè"] = { "南側", "男廁", "難測"}, ["nánchāng"] = { "南昌", "男娼"}, ["nándào"] = { "難道", "難點"}, ["nánfāng"] = { "南方", "男方"}, ["nāngchuài"] = { "囊揣", "囊膪"}, ["nánjiāng"] = { "南疆", "南薑"}, ["nánkǎluóláinà"] = { "南卡羅來納", "南卡羅萊納"}, ["nánrén"] = { "南人", "男人"}, ["nánsè"] = { "男色", "難色"}, ["nánshì"] = { "男士", "男式", "難事"}, ["nányáng"] = { "南洋", "南陽"}, ["nányuè"] = { "南嶽", "南越"}, ["nàoshì"] = { "鬧事", "鬧市"}, ["nǎoyán"] = { "腦炎", "腦癌"}, ["nàozhōng"] = { "鬧鍾", "鬧鐘"}, ["nèihán"] = { "內含", "內涵"}, ["nèishǐ"] = { "內使", "內室"}, ["nèishì"] = { "內侍", "內室"}, ["niándù"] = { "年度", "粘度", "黏度"}, ["niánjì"] = { "年紀", "年際"}, ["niánmò"] = { "年末", "粘膜", "黏膜"}, ["niánmó"] = { "粘膜", "黏膜"}, ["niánqīng"] = { "年輕", "年青"}, ["niántiē"] = { "粘貼", "黏貼"}, ["niántǔ"] = { "粘土", "黏土"}, ["niányè"] = { "年夜", "粘液", "黏液"}, ["niánzhe"] = { "粘著/粘着", "黏著/黏着"}, ["niánzhōng"] = { "年中", "年終"}, ["niǎoyǔ"] = { "鳥羽", "鳥語"}, ["nǐdìng"] = { "擬定", "擬訂"}, ["nǐdǒngde"] = { "你懂得", "你懂的"}, ["nièrú"] = { "囁嚅", "顳顬"}, ["nǐhé"] = { "擬合", "擬核"}, ["níkēxīyà"] = { "尼柯西亞", "尼科西亞"}, ["níkēxīyǎ"] = { "尼柯西亞", "尼科西亞"}, ["nǐmen"] = { "你們", "妳們", "祢們"}, ["níngliàn"] = { "凝練", "凝鍊"}, ["nìshuǐ"] = { "溺水", "逆水"}, ["niúdòu"] = { "牛斗", "牛痘"}, ["niújīn"] = { "牛津", "牛筋"}, ["niújiǔ"] = { "牛久", "牛酒"}, ["niúzǐ"] = { "牛仔", "牛子"}, ["nónggōng"] = { "農功", "農工"}, ["nóngwù"] = { "濃霧", "農務"}, ["nóngyàn"] = { "濃豔", "農諺"}, ["nóngzhuāng"] = { "濃妝", "農莊"}, ["nǚgōng"] = { "女工", "女紅"}, ["nǚshì"] = { "女士", "女式"}, ["nǚzhēn"] = { "女真", "女貞"}, ["nǚzhēnzǐ"] = { "女真子", "女貞子"}, ["pà'ěrmǎ"] = { "帕爾瑪", "帕爾馬"}, ["páidàng"] = { "排擋", "排檔"}, ["páidǎng"] = { "排擋", "排檔"}, ["páigǔ"] = { "排骨", "排鼓"}, ["páijià"] = { "排駕", "牌價"}, ["páixiè"] = { "排泄", "排洩"}, ["páiyìn"] = { "排印", "牌印"}, ["pángguāngyán"] = { "膀胱炎", "膀胱癌"}, ["pánjù"] = { "盤踞", "蟠據"}, ["pānyuán"] = { "攀援", "攀緣"}, ["pàobīng"] = { "炮兵", "砲兵"}, ["pǎodào"] = { "跑到", "跑道"}, ["pázi"] = { "筢子", "耙子"}, ["pèijiàn"] = { "佩劍", "配件"}, ["pèijiǎo"] = { "配腳", "配角"}, ["pèijué"] = { "配腳", "配角"}, ["pèizhì"] = { "配制", "配置", "配製"}, ["péizuì"] = { "賠罪", "陪罪"}, ["pěngyóu"] = { "捧油", "捧由"}, ["piànduàn"] = { "片斷", "片段"}, ["piānmù"] = { "片目", "篇目"}, ["piānpiān"] = { "偏偏", "翩翩"}, ["piànyán"] = { "片岩", "片言"}, ["piāobó"] = { "漂泊", "飄泊"}, ["piāofú"] = { "漂浮", "飄拂", "飄浮"}, ["piāolíng"] = { "嘌呤", "飄零"}, ["piāomiǎo"] = { "縹緲", "飄渺"}, ["piāoyáng"] = { "漂洋", "飄揚"}, ["piāoyí"] = { "漂移", "飄移"}, ["pīfù"] = { "批復", "批覆"}, ["pífūyán"] = { "皮膚炎", "皮膚癌"}, ["píjiàng"] = { "皮匠", "裨將"}, ["píjiǔ"] = { "啤酒", "皮酒"}, ["pīlì"] = { "劈歷", "披瀝", "霹靂"}, ["píndào"] = { "貧道", "頻道"}, ["píngbǎn"] = { "平板", "平版"}, ["píngchéng"] = { "平城", "平成"}, ["píngdìng"] = { "平定", "評定"}, ["píngfēn"] = { "平分", "評分"}, ["pínggū"] = { "平菇", "評估"}, ["píngguǒ"] = { "平果", "蘋果"}, ["pínghuà"] = { "平話", "評話"}, ["píngjià"] = { "平價", "瓶架", "評價"}, ["píngjù"] = { "平劇", "憑據", "評劇"}, ["píngshēng"] = { "平生", "平聲"}, ["píngshí"] = { "平實", "平時"}, ["píngtán"] = { "平潭", "評彈"}, ["píngwén"] = { "平文", "平紋"}, ["píngxìn"] = { "平信", "憑信"}, ["píngyì"] = { "平易", "評議"}, ["píngyuán"] = { "平原", "平圓"}, ["píngzhàng"] = { "屏障", "憑仗"}, ["píngzhuāng"] = { "平裝", "瓶裝"}, ["pǐnmíng"] = { "品名", "品茗"}, ["pǐnwèi"] = { "品位", "品味"}, ["pínyóu"] = { "貧油", "貧鈾"}, ["pípá"] = { "批把", "枇把", "枇杷", "琵琶"}, ["pīsà"] = { "批薩", "披薩"}, ["pīyuè"] = { "批閱", "披閱"}, ["pòfèi"] = { "破土", "破費"}, ["pòlì"] = { "破例", "魄力"}, ["pòmén"] = { "破門", "魄門"}, ["pú'ānsuān"] = { "脯氨酸", "脯胺酸"}, ["pùguāng"] = { "暴光", "曝光"}, ["pǔjí"] = { "普及", "普吉"}, ["pùlù"] = { "暴露", "曝露"}, ["pútáo"] = { "葡萄", "蒲桃"}, ["púzhí"] = { "樸直", "樸質"}, ["qiánbì"] = { "前臂", "潛避", "錢幣"}, ["qiánbù"] = { "前部", "潛步"}, ["qiánchéng"] = { "前程", "虔誠"}, ["qiānchéng"] = { "牽成", "謙誠"}, ["qiándài"] = { "前代", "錢袋"}, ["qiángjiǎo"] = { "牆腳", "牆角"}, ["qiángōng"] = { "前功", "鉗工"}, ["qiángwéi"] = { "牆帷", "薔薇"}, ["qiánjìn"] = { "前進", "淺近"}, ["qiānjīn"] = { "千斤", "千金"}, ["qiánlì"] = { "前例", "潛力"}, ["qiānlián"] = { "牽聯", "牽連"}, ["qiánliáng"] = { "前涼", "錢糧"}, ["qiánlièxiànyán"] = { "前列腺炎", "前列腺癌"}, ["qiánqī"] = { "前妻", "前期"}, ["qiánqiáo"] = { "前橋", "前鞽"}, ["qiānrù"] = { "嵌入", "簽入", "遷入"}, ["qiànshēn"] = { "欠伸", "欠身"}, ["qiánshì"] = { "前世", "前事"}, ["qiǎnshuǐ"] = { "淺水", "潛水"}, ["qiántí"] = { "前提", "前蹄"}, ["qiántú"] = { "前途", "錢途"}, ["qiánwéi"] = { "前桅", "犍為"}, ["qiánxì"] = { "前夕", "前戲"}, ["qiányán"] = { "前沿", "前言"}, ["qiányè"] = { "前夜", "前葉"}, ["qiánzhào"] = { "前兆", "前趙"}, ["qiánzhì"] = { "前志", "前置", "潛質", "鉗制"}, ["qiānzì"] = { "簽字", "鉛字"}, ["qiáomài"] = { "喬麥", "蕎麥"}, ["qiàomén"] = { "撬門", "竅門"}, ["qíbīng"] = { "奇兵", "旗兵", "騎兵"}, ["qǐbù"] = { "豈不", "起步"}, ["qǐchéng"] = { "啟程", "起程"}, ["qídài"] = { "期待", "臍帶"}, ["qǐdòng"] = { "啟動", "起動"}, ["qièjì"] = { "切忌", "切記"}, ["qièqièsīyǔ"] = { "切切私語", "竊竊私語"}, ["qièshēn"] = { "切身", "妾身"}, ["qǐfēi"] = { "豈非", "起飛"}, ["qìfēn"] = { "氣分", "氣氛"}, ["qíguān"] = { "亓官", "奇觀"}, ["qìguǎn"] = { "企管", "氣管"}, ["qìhuà"] = { "企劃", "氣話", "汽化"}, ["qìjī"] = { "契機", "汽機", "氣機"}, ["qǐjí"] = { "企及", "起急"}, ["qíjì"] = { "奇跡", "騏驥"}, ["qǐjià"] = { "起價", "起駕"}, ["qíjiān"] = { "其間", "期間"}, ["qíjiàn"] = { "旗艦", "歧見"}, ["qíjǐng"] = { "奇景", "騎警"}, ["qìjù"] = { "器具", "契據"}, ["qǐlì"] = { "綺麗", "起立"}, ["qìliàng"] = { "器量", "氣量"}, ["qílín"] = { "淇淋", "麒麐", "麒麟"}, ["qīlíng"] = { "欺凌", "欺陵"}, ["qǐmáo"] = { "起毛", "起錨"}, ["qīnfù"] = { "親父", "親赴"}, ["qīngchá"] = { "清查", "清茶"}, ["qīngcháo"] = { "傾巢", "清朝"}, ["qīngchéng"] = { "傾城", "清澄"}, ["qīngcuì"] = { "清脆", "青翠"}, ["qīngdài"] = { "清代", "青黛"}, ["qīngdàn"] = { "氫彈", "清淡"}, ["qīngdǎo"] = { "傾倒", "青島"}, ["qīngdí"] = { "清滌", "輕敵"}, ["qīngfēng"] = { "清風", "輕風"}, ["qīngfù"] = { "傾覆", "輕賦"}, ["qīngfú"] = { "輕浮", "青蚨"}, ["qínghuà"] = { "情話", "氰化"}, ["qīnghuà"] = { "氫化", "清化"}, ["qīngjiàn"] = { "氫鍵", "輕健", "輕賤"}, ["qīngjiāo"] = { "青椒", "青鮫"}, ["qíngjié"] = { "情節", "情結"}, ["qīngjié"] = { "清潔", "輕捷"}, ["qīngjīn"] = { "清津", "青筋"}, ["qīngjìng"] = { "清淨", "清靜"}, ["qǐngkè"] = { "請客", "頃刻"}, ["qīngkōng"] = { "清空", "青空"}, ["qīnglài"] = { "清瀨", "青睞"}, ["qīngliàng"] = { "清亮", "輕量"}, ["qīngméi"] = { "青梅", "青黴"}, ["qíngmiàn"] = { "情面", "黥面"}, ["qīngmù"] = { "傾慕", "青木"}, ["qīngqīng"] = { "輕輕", "青青"}, ["qīngsè"] = { "青澀", "青色"}, ["qīngshān"] = { "青山", "青衫"}, ["qīngshāng"] = { "清商", "輕傷"}, ["qīngshēng"] = { "輕生", "輕聲"}, ["qíngshì"] = { "情事", "情勢"}, ["qīngsōng"] = { "輕鬆", "青松"}, ["qīngtán"] = { "傾談", "清談"}, ["qíngtiān"] = { "擎天", "晴天"}, ["qīngtóng"] = { "青桐", "青銅"}, ["qīngwéi"] = { "傾危", "輕微"}, ["qīngwēi"] = { "傾危", "輕微"}, ["qīngxiāng"] = { "清香", "青箱", "青葙"}, ["qīngxīn"] = { "傾心", "清新"}, ["qíngyì"] = { "情意", "情義", "情誼"}, ["qīngyì"] = { "清議", "清逸", "輕易"}, ["qīngyīn"] = { "清音", "輕音"}, ["qīngyú"] = { "青魚", "鯖魚"}, ["qīngzhōu"] = { "清州", "輕舟", "青州"}, ["qīngzhuāng"] = { "輕妝", "輕裝"}, ["qīngzhuó"] = { "清濁", "清酌"}, ["qīnlüè"] = { "侵掠", "侵略"}, ["qínniǎo"] = { "琴鳥", "禽鳥"}, ["qióngqióng"] = { "惸惸", "煢煢"}, ["qīqīchāchā"] = { "嘁嘁喳喳", "嘁嘁嚓嚓"}, ["qǐqiú"] = { "乞求", "企求"}, ["qìqiú"] = { "企求", "氣球"}, ["qíqiú"] = { "期求", "祈求"}, ["qíquán"] = { "期權", "齊全"}, ["qírén"] = { "奇人", "旗人"}, ["qīshì"] = { "七事", "妻室"}, ["qǐshì"] = { "乞士", "啟事", "啟示", "綺室", "豈是", "起事", "起勢", "起士", "起誓"}, ["qìshì"] = { "器識", "棄世", "棄市", "氣勢", "氣室"}, ["qìshí"] = { "器識", "氣實"}, ["qíshì"] = { "奇事", "奇士", "棋士", "棋式", "歧視", "騎士"}, ["qíshǐ"] = { "祈使", "臍屎"}, ["qíshī"] = { "臍濕", "騎師"}, ["qíshǒu"] = { "旗手", "棋手", "騎手"}, ["qìshù"] = { "槭樹", "氣數"}, ["qǐsī"] = { "綺思", "起司"}, ["qiūbǐtè"] = { "丘比特", "邱比特"}, ["qiúrén"] = { "囚人", "求人"}, ["qiúshì"] = { "囚室", "求仕"}, ["qiúyī"] = { "求醫", "球衣"}, ["qiúyuán"] = { "求援", "球員"}, ["qíwàng"] = { "期望", "祈望"}, ["qīxī"] = { "七夕", "棲息"}, ["qìxí"] = { "憩息", "氣息"}, ["qìxī"] = { "憩息", "氣息"}, ["qìxiàng"] = { "氣相", "氣象"}, ["qǐyè"] = { "企業", "起夜"}, ["qíyì"] = { "奇異", "棋藝", "歧異", "歧義"}, ["qìyòng"] = { "器用", "棄用"}, ["qǐyòng"] = { "啟用", "起用"}, ["qíyú"] = { "其餘", "旗魚"}, ["qìyǔ"] = { "器宇", "氣宇"}, ["qíyù"] = { "埼玉", "奇遇"}, ["qìyùn"] = { "氣運", "氣韻"}, ["qìyǔxuān'áng"] = { "器宇軒昂", "氣宇軒昂"}, ["qízhì"] = { "奇志", "旗幟"}, ["qìzhì"] = { "棄置", "氣質"}, ["qìzhí"] = { "棄職", "氣質"}, ["qǐzhǐ"] = { "豈止", "起止"}, ["qízhōng"] = { "其中", "期中"}, ["quáncháng"] = { "全場", "全長"}, ["quánjí"] = { "全集", "拳擊"}, ["quánjú"] = { "全局", "蜷局"}, ["quánlì"] = { "全力", "權利", "權力"}, ["quánnéng"] = { "全能", "權能"}, ["quánquán"] = { "全權", "拳拳"}, ["quánshēn"] = { "全身", "拳參"}, ["quánshèng"] = { "全勝", "全盛"}, ["quánshí"] = { "全食", "泉石"}, ["quánshì"] = { "權勢", "詮釋"}, ["quánshù"] = { "全數", "拳術", "權術"}, ["quánxiàn"] = { "全線", "權限"}, ["quánxīn"] = { "全心", "全新"}, ["quányù"] = { "全域", "權欲", "痊癒"}, ["quányuán"] = { "全員", "泉源"}, ["quánzhōu"] = { "全州", "泉州"}, ["qūchóng"] = { "蛆蟲", "驅蟲"}, ["qūchú"] = { "祛除", "驅除"}, ["quèshì"] = { "卻是", "確是"}, ["qūfù"] = { "曲阜", "趨赴", "趨附"}, ["qūhuà"] = { "區劃", "區畫"}, ["qūjū"] = { "佉苴", "曲裾"}, ["qūshēn"] = { "屈伸", "屈身"}, ["qùshì"] = { "去世", "去勢", "覷視", "趣事"}, ["qūshì"] = { "趨侍", "趨勢"}, ["qùxiàng"] = { "去向", "趣向"}, ["qūyuàn"] = { "曲院", "麴院"}, ["qūzhé"] = { "屈折", "曲折"}, ["rénchén"] = { "人臣", "壬辰"}, ["rénjūn"] = { "人君", "人均"}, ["rènmìng"] = { "任命", "認命"}, ["rénrén"] = { "人人", "仁人"}, ["rénshēn"] = { "人參", "人身", "壬申"}, ["rénshēng"] = { "人生", "人聲"}, ["rénshì"] = { "人世", "人事", "人勢", "人士", "人市", "人氏"}, ["rénshù"] = { "人數", "仁術"}, ["rènwéi"] = { "任為", "認為"}, ["rénxiàng"] = { "人像", "人相"}, ["rénxīn"] = { "人心", "仁心"}, ["rénxíng"] = { "人形", "人行"}, ["rènxìng"] = { "任性", "韌性"}, ["rényì"] = { "人意", "仁義"}, ["rényuán"] = { "人員", "人緣"}, ["rènzhēn"] = { "紉針", "認真"}, ["rénzhèng"] = { "人證", "仁政"}, ["rénzhì"] = { "人治", "人質"}, ["rénzǐ"] = { "人子", "壬子"}, ["rèzhōng"] = { "熱中", "熱衷"}, ["rìcháng"] = { "日場", "日常"}, ["rìlì"] = { "日曆", "日立"}, ["rìshí"] = { "日蝕", "日食"}, ["rìyuán"] = { "日元", "日圓"}, ["róngchéng"] = { "容城", "容成", "榕城", "榮城", "榮成", "蓉城", "融城"}, ["róngguāng"] = { "容光", "榮光"}, ["rónghé"] = { "融合", "融和"}, ["rónghuà"] = { "溶化", "熔化", "融化"}, ["rónghuì"] = { "融匯", "融會"}, ["róngjiě"] = { "溶解", "熔解", "融解"}, ["róngróng"] = { "熔融", "茸茸"}, ["róngrù"] = { "榮辱", "溶入", "融入"}, ["róngyán"] = { "容顏", "溶岩", "熔岩"}, ["róngyì"] = { "容易", "溶液"}, ["róngzī"] = { "容姿", "融資"}, ["ròudòukòu"] = { "肉豆寇", "肉豆蔻"}, ["ruǎn'è"] = { "軟顎", "軟齶"}, ["ruǎn'èyīn"] = { "軟顎音", "軟齶音"}, ["rùgǔ"] = { "入股", "入骨"}, ["ruìlì"] = { "瑞麗", "銳利"}, ["rùjì"] = { "入寂", "入繼"}, ["rùjiān"] = { "入監", "入間"}, ["rǔjiāo"] = { "乳交", "乳膠"}, ["rúléiguàn'ěr"] = { "如雷灌耳", "如雷貫耳"}, ["rúléiguàněr"] = { "如雷灌耳", "如雷貫耳"}, ["ruòshì"] = { "弱勢", "弱視", "若是"}, ["rùshì"] = { "入世", "入仕", "入室"}, ["rúshù"] = { "儒術", "如數"}, ["rùwéi"] = { "入圍", "入微", "入闈"}, ["rǔxiànyán"] = { "乳腺炎", "乳腺癌"}, ["rùyù"] = { "入浴", "入獄"}, ["rǔzhī"] = { "乳汁", "乳脂"}, ["sàbǎo"] = { "薩保", "薩寶"}, ["sādàn"] = { "撒但", "撒旦"}, ["sādànjiào"] = { "撒但教", "撒旦教"}, ["sàitè"] = { "塞特", "賽特"}, ["sàitèquǎn"] = { "塞特犬", "賽特犬"}, ["sǎlèi"] = { "灑泪", "灑淚"}, ["sānbā"] = { "三八", "三巴"}, ["sànbù"] = { "散佈", "散步"}, ["sàngshī"] = { "喪失", "喪屍"}, ["sāngzǐ"] = { "桑子", "桑梓"}, ["sānjiàn"] = { "三鍵", "叁鍵"}, ["sānwéi"] = { "三圍", "三維"}, ["sànyì"] = { "散佚", "散逸"}, ["sānyīng"] = { "三英", "三鷹"}, ["sānyuán"] = { "三元", "三原"}, ["sǎomiáo"] = { "掃描", "掃瞄"}, ["sè'ānsuān"] = { "色氨酸", "色胺酸"}, ["sēngjiā"] = { "僧伽", "僧家"}, ["sèzé"] = { "塞責", "色澤"}, ["shādiē"] = { "沙嗲", "沙爹"}, ["shāfā"] = { "殺伐", "沙發"}, ["shāhé"] = { "沙河", "沙盒"}, ["shājiāng"] = { "沙薑", "砂漿"}, ["shālā"] = { "沙拉", "莎拉"}, ["shālì"] = { "沙瀝", "沙礫", "沙粒", "莎麗"}, ["shālóng"] = { "沙龍", "紗籠"}, ["shāmò"] = { "沙漠", "砂漠"}, ["shànbiàn"] = { "善變", "善辯", "嬗變"}, ["shānchú"] = { "刪除", "芟除"}, ["shàndài"] = { "善待", "疝帶"}, ["shāndiān"] = { "山巔", "煽顛"}, ["shāndòng"] = { "山洞", "扇動", "煽動"}, ["shānfēng"] = { "山峰", "山風", "扇風"}, ["shàngbǎng"] = { "上榜", "上綁"}, ["shàngbì"] = { "上幣", "上臂"}, ["shàngbiāo"] = { "上標", "上膘"}, ["shàngchéng"] = { "上乘", "上城"}, ["shàngchuán"] = { "上傳", "上船"}, ["shàngdì"] = { "上帝", "上第"}, ["shàngdiào"] = { "上吊", "上調"}, ["shàngfēng"] = { "上峰", "上風"}, ["shàngfù"] = { "上覆", "尚父"}, ["shànghǎo"] = { "上好", "尚好"}, ["shānghào"] = { "傷耗", "傷號", "商號"}, ["shànghuán"] = { "上環", "上鬟"}, ["shàngjí"] = { "上級", "上集"}, ["shàngjiāng"] = { "上江", "上漿"}, ["shàngjiāo"] = { "上交", "上焦", "上膠"}, ["shàngjiè"] = { "上屆", "上界"}, ["shàngjìn"] = { "上勁", "上進"}, ["shàngjìng"] = { "上勁", "上鏡"}, ["shàngkè"] = { "上客", "上課"}, ["shànglóu"] = { "上僂", "上樓"}, ["shànglù"] = { "上路", "上陸"}, ["shāngluò"] = { "商洛", "商雒"}, ["shāngrén"] = { "傷人", "商人"}, ["shàngshèng"] = { "上乘", "上聖"}, ["shàngshì"] = { "上世", "上士", "上市"}, ["shāngshì"] = { "傷勢", "商事"}, ["shàngshǒu"] = { "上手", "上首"}, ["shàngshū"] = { "上書", "上疏", "尚書"}, ["shàngshù"] = { "上疏", "上述"}, ["shàngsù"] = { "上溯", "上訴"}, ["shàngtáng"] = { "上堂", "上膛"}, ["shàngwèi"] = { "上位", "上味", "上尉", "尚未"}, ["shàngwén"] = { "上文", "上聞"}, ["shàngwǔ"] = { "上午", "尚武"}, ["shàngxiàn"] = { "上線", "上限"}, ["shàngxiàng"] = { "上像", "上相"}, ["shàngxiáng"] = { "上庠", "上詳"}, ["shàngxíng"] = { "上刑", "上行"}, ["shàngyǎn"] = { "上演", "上眼"}, ["shàngyè"] = { "上夜", "上謁"}, ["shàngyī"] = { "上衣", "上醫"}, ["shàngyóu"] = { "上油", "上游"}, ["shàngyuàn"] = { "上苑", "上院"}, ["shàngyuè"] = { "上月", "上越"}, ["shàngzài"] = { "上載", "尚在"}, ["shàngzhì"] = { "上智", "上知", "尚志"}, ["shàngzhuāng"] = { "上妝", "上裝"}, ["shàngzuò"] = { "上坐", "上座"}, ["shānhújiāo"] = { "山胡椒", "珊瑚礁"}, ["shānhuò"] = { "山貨", "煽惑"}, ["shānjī"] = { "山積", "山雞"}, ["shānlù"] = { "山路", "山鹿", "山麓"}, ["shànshì"] = { "善事", "善士"}, ["shānwèi"] = { "羶味", "膻味"}, ["shānyáng"] = { "山羊", "山陽"}, ["shànyì"] = { "善意", "訕議"}, ["shànyú"] = { "善於", "鱔魚"}, ["shāohòu"] = { "稍候", "稍後"}, ["sháozi"] = { "勺子", "杓子", "韶子"}, ["shārén"] = { "殺人", "砂仁"}, ["shāshēn"] = { "殺身", "沙參"}, ["shāzhōu"] = { "沙州", "沙洲"}, ["shèdelán"] = { "設得蘭", "設德蘭"}, ["shèdélánqúndǎo"] = { "設得蘭群島", "設德蘭群島"}, ["shèdelánrén"] = { "設得蘭人", "設德蘭人"}, ["shèjí"] = { "射擊", "涉及"}, ["shèjì"] = { "社稷", "設計"}, ["shèlì"] = { "涉歷", "猞猁", "舍利", "設立"}, ["shèliè"] = { "射獵", "涉獵"}, ["shēn'ào"] = { "深奥", "深奧"}, ["shěnchá"] = { "審察", "審查"}, ["shēncháng"] = { "伸長", "深長", "身長"}, ["shěndìng"] = { "審定", "審訂"}, ["shēnfèn"] = { "身份", "身分"}, ["shēngbiàn"] = { "生變", "聲辯"}, ["shèngdé"] = { "盛德", "聖德"}, ["shèngdì"] = { "勝地", "聖地", "聖諦"}, ["shèngdiǎn"] = { "盛典", "聖典"}, ["shēngēng"] = { "深更", "深耕"}, ["shèngfù"] = { "勝負", "聖父"}, ["shèngjié"] = { "勝捷", "聖潔"}, ["shèngjǐng"] = { "勝景", "盛景"}, ["shēngjiù"] = { "生就", "生路"}, ["shēnglǐ"] = { "牲禮", "生理"}, ["shèngmǎlìnuò"] = { "聖馬利諾", "聖馬力諾"}, ["shèngmíng"] = { "盛名", "聖明"}, ["shēngmíng"] = { "聲名", "聲明"}, ["shèngmǔ'mǎlìyà"] = { "聖母瑪利亞", "聖母瑪麗亞"}, ["shèngmǔ'mǎlìyǎ"] = { "聖母瑪利亞", "聖母瑪麗亞"}, ["shēngmǔ"] = { "生母", "聲母"}, ["shèngmǔmǎlìyà"] = { "聖母瑪利亞", "聖母瑪麗亞"}, ["shèngmǔmǎlìyǎ"] = { "聖母瑪利亞", "聖母瑪麗亞"}, ["shēngnà"] = { "聲吶", "聲納"}, ["shēngpíng"] = { "升平", "生平"}, ["shēngqì"] = { "生氣", "聲氣"}, ["shēngrèn"] = { "勝任", "升任"}, ["shēngsè"] = { "生澀", "生色", "聲色"}, ["shēngshì"] = { "生事", "聲勢"}, ["shèngshì"] = { "盛世", "盛事"}, ["shèngtáng"] = { "盛唐", "聖堂"}, ["shèngwénsēnjígéruìnàdīng"] = { "聖文森及格瑞納丁", "聖文森及格瑞那丁"}, ["shēngxí"] = { "生息", "聲息"}, ["shēngxī"] = { "生息", "聲息"}, ["shēngxiào"] = { "生效", "生肖"}, ["shēngxiāo"] = { "生肖", "笙簫"}, ["shèngyú"] = { "剩餘", "勝於"}, ["shēngyù"] = { "生育", "聲域", "聲譽"}, ["shēngyuán"] = { "生員", "聲援", "聲源", "生源"}, ["shēngzhí"] = { "升值", "升職", "生殖"}, ["shēnhòu"] = { "深厚", "身後"}, ["shénhuà"] = { "神化", "神話"}, ["shénjīng"] = { "神京", "神經"}, ["shénmiào"] = { "神妙", "神廟"}, ["shēnmìngjì"] = { "申命紀", "申命記"}, ["shénqì"] = { "神器", "神氣"}, ["shénqí"] = { "神奇", "神祇"}, ["shēnrù"] = { "伸入", "深入"}, ["shēnshēn"] = { "深深", "莘莘"}, ["shēnshì"] = { "紳士", "身世"}, ["shēnshǒu"] = { "伸手", "身手"}, ["shēnwén"] = { "申文", "申聞"}, ["shēnxǐng"] = { "深省", "深醒"}, ["shènyán"] = { "腎炎", "腎癌"}, ["shényì"] = { "神意", "神異"}, ["shēnyuān"] = { "深淵", "申冤"}, ["shēnyùn"] = { "身孕", "身韻"}, ["shénzhì"] = { "神志", "神智"}, ["shèshǔ"] = { "社鼠", "麝鼠"}, ["shèxiàn"] = { "射線", "歙縣"}, ["shèyǐng"] = { "射影", "攝影"}, ["shíbǎn"] = { "石板", "石版"}, ["shíběn"] = { "石本", "蝕本"}, ["shìbì"] = { "世弊", "勢必"}, ["shíbì"] = { "時弊", "石壁"}, ["shìbié"] = { "士別", "識別"}, ["shícái"] = { "石材", "食材"}, ["shìcháng"] = { "市場", "試嘗", "試場"}, ["shìchǎng"] = { "市場", "試場"}, ["shícháng"] = { "時常", "時長"}, ["shǐchū"] = { "使出", "始初"}, ["shìchuān"] = { "市川", "試穿"}, ["shìcóng"] = { "侍從", "適從"}, ["shìdé"] = { "世德", "識得"}, ["shìde"] = { "似的", "是的"}, ["shīdé"] = { "失德", "師德"}, ["shídé"] = { "拾得", "識得"}, ["shīdì"] = { "失地", "師弟", "濕地"}, ["shìdiǎn"] = { "事典", "視點", "試點"}, ["shìfēi"] = { "是非", "飾非"}, ["shífēn"] = { "十分", "時分"}, ["shìfèng"] = { "事奉", "侍奉"}, ["shīfu"] = { "師傅", "師父"}, ["shígé"] = { "時隔", "食閣"}, ["shìgōng"] = { "事工", "試工"}, ["shīgōng"] = { "師公", "施工"}, ["shìgù"] = { "世故", "事故"}, ["shìguān"] = { "事關", "士官"}, ["shǐguān"] = { "史官", "史觀"}, ["shìhǎo"] = { "世好", "示好"}, ["shìhào"] = { "嗜好", "謚號"}, ["shìhé"] = { "噬嗑", "適合"}, ["shìhòu"] = { "事後", "侍候"}, ["shíhuà"] = { "實話", "石化"}, ["shìjì"] = { "世紀", "事濟", "事蹟", "試劑"}, ["shìjí"] = { "事急", "市集"}, ["shìjī"] = { "事機", "事蹟"}, ["shǐjì"] = { "史記", "史跡"}, ["shíjī"] = { "實機", "時機", "石雞"}, ["shíjì"] = { "實際", "時計"}, ["shìjiā"] = { "世家", "釋迦"}, ["shìjià"] = { "事假", "市價", "試駕"}, ["shìjiān"] = { "世間", "適間", "視姦"}, ["shíjiàn"] = { "實踐", "石箭"}, ["shìjiè"] = { "世界", "事界", "視界"}, ["shíjiē"] = { "石階", "食街"}, ["shìjièjìlù"] = { "世界紀錄", "世界記錄"}, ["shījīng"] = { "失驚", "詩經"}, ["shìjuàn"] = { "試卷", "釋卷"}, ["shìjué"] = { "視覺", "試掘"}, ["shíkè"] = { "時刻", "石刻", "蝕刻", "食客"}, ["shìlì"] = { "事例", "侍立", "勢利", "勢力", "市立", "示例", "視力", "釋例"}, ["shìlǐ"] = { "事理", "市里"}, ["shīlǐ"] = { "失禮", "施禮"}, ["shílì"] = { "實例", "實力"}, ["shǐliào"] = { "史料", "始料"}, ["shíliào"] = { "石料", "食料"}, ["shíliú"] = { "時流", "石榴"}, ["shīlùlù"] = { "濕淥淥", "濕漉漉"}, ["shìlùn"] = { "世論", "試論"}, ["shìmiàn"] = { "世面", "市面", "識面"}, ["shímián"] = { "石棉", "石綿"}, ["shìmín"] = { "士民", "市民"}, ["shímò"] = { "石墨", "石磨"}, ["shìnèi"] = { "室內", "市內"}, ["shìnǚ"] = { "仕女", "侍女", "士女", "室女"}, ["shíqī"] = { "十七", "時期"}, ["shíqì"] = { "石器", "食器"}, ["shǐqián"] = { "使錢", "史前"}, ["shìqiè"] = { "侍妾", "適切"}, ["shìqíng"] = { "世情", "事情"}, ["shìqù"] = { "拭去", "識趣", "逝去"}, ["shìrén"] = { "世人", "士人"}, ["shìrèn"] = { "識認", "適任"}, ["shìshēn"] = { "士紳", "試身"}, ["shīshēng"] = { "失聲", "師生"}, ["shìshì"] = { "世世", "世事", "事事", "事勢", "筮仕", "視事", "逝世"}, ["shìshí"] = { "事實", "侍食", "嗜食", "是時", "試食", "適時"}, ["shǐshí"] = { "史實", "矢石"}, ["shìshī"] = { "士師", "誓師"}, ["shīshì"] = { "失事", "失勢", "失恃", "師事", "施事"}, ["shīshí"] = { "失實", "失時", "施食", "蓍實"}, ["shíshì"] = { "實事", "實是", "時世", "時事", "時勢", "時式", "石室"}, ["shíshí"] = { "實實", "實時", "時時", "食時"}, ["shíshī"] = { "實施", "石獅"}, ["shíshǐ"] = { "石室", "石屎", "食始"}, ["shīshǒu"] = { "失守", "失手", "屍首"}, ["shíshù"] = { "實數", "時數"}, ["shìsūn"] = { "世孫", "士孫"}, ["shìtài"] = { "世態", "事態"}, ["shítáng"] = { "食堂", "食糖"}, ["shìtóu"] = { "事頭", "勢頭"}, ["shìtú"] = { "仕途", "視圖", "試圖"}, ["shìwèi"] = { "世衛", "侍衛"}, ["shìwéi"] = { "室韋", "式微", "視為"}, ["shìwēi"] = { "式微", "示威"}, ["shíwěi"] = { "石葦", "石韋"}, ["shìwù"] = { "世務", "事務", "事物", "飾物"}, ["shíwù"] = { "什物", "實務", "實物", "拾物", "時務", "食物"}, ["shīwù"] = { "失物", "失誤"}, ["shíxiàn"] = { "實現", "時限"}, ["shìxiàng"] = { "事項", "識相"}, ["shíxiàng"] = { "石像", "識相"}, ["shīxiào"] = { "失效", "失笑"}, ["shíxiào"] = { "實效", "時效"}, ["shíxīn"] = { "實心", "時新", "時薪"}, ["shíxíng"] = { "實行", "石刑"}, ["shīxué"] = { "失學", "詩學"}, ["shìyàn"] = { "勢焰", "試驗"}, ["shíyàn"] = { "十堰", "實驗"}, ["shìyǎn"] = { "試演", "飾演"}, ["shíyán"] = { "食言", "食鹽"}, ["shìyàng"] = { "式樣", "試樣"}, ["shíyànshì"] = { "實驗室", "實驗式"}, ["shìyè"] = { "世業", "事業"}, ["shíyè"] = { "實業", "時夜"}, ["shìyě"] = { "是也", "視野"}, ["shìyī"] = { "世醫", "試衣"}, ["shìyí"] = { "事宜", "適宜", "釋疑"}, ["shíyì"] = { "十億", "實意"}, ["shīyì"] = { "失意", "失憶", "詩意"}, ["shíyí"] = { "拾遺", "時宜", "食宜"}, ["shìyì"] = { "示意", "視譯", "釋義"}, ["shìyìng"] = { "侍應", "適應"}, ["shíyòng"] = { "實用", "食用"}, ["shìyòng"] = { "試用", "適用"}, ["shíyóu"] = { "石油", "食油"}, ["shíyuán"] = { "石原", "石垣"}, ["shìyuán"] = { "世元", "市原"}, ["shízhèng"] = { "實症", "實證", "時政"}, ["shìzhèng"] = { "市政", "是正"}, ["shīzhì"] = { "失志", "失智"}, ["shízhí"] = { "實質", "時值"}, ["shízhì"] = { "實質", "時制"}, ["shìzhì"] = { "市制", "試製"}, ["shìzhōng"] = { "侍中", "適中"}, ["shìzhǔ"] = { "世主", "事主"}, ["shīzhǔ"] = { "失主", "施主"}, ["shízhù"] = { "石柱", "食住"}, ["shìzǐ"] = { "世子", "士子", "釋子"}, ["shízì"] = { "十字", "識字"}, ["shīzi"] = { "獅子", "蝨子"}, ["shìzú"] = { "世族", "士卒", "氏族"}, ["shǒucè"] = { "手冊", "手策"}, ["shǒuchuàng"] = { "手創", "首創"}, ["shǒufǎ"] = { "守法", "手法"}, ["shǒufù"] = { "首付", "首富"}, ["shǒugōng"] = { "守宮", "手工", "首功"}, ["shǒugǔ"] = { "守谷", "手骨", "手鼓"}, ["shòuhuì"] = { "受惠", "受賄"}, ["shōuhuò"] = { "收穫", "收貨"}, ["shǒujì"] = { "手記", "首季"}, ["shōují"] = { "收籍", "收集"}, ["shòujiǎng"] = { "受獎", "授獎"}, ["shòujīng"] = { "受精", "受驚", "授精"}, ["shòulǐ"] = { "受理", "壽禮"}, ["shōuliàn"] = { "收斂", "收殮"}, ["shòumiàn"] = { "壽麵", "獸面"}, ["shòumìng"] = { "受命", "壽命", "授命"}, ["shòuquán"] = { "受權", "授權"}, ["shòurǔ"] = { "受辱", "授乳"}, ["shǒushì"] = { "守勢", "手勢", "首事", "首飾"}, ["shōushì"] = { "收市", "收視"}, ["shóushì"] = { "熟視", "熟識"}, ["shǒuwèi"] = { "守衛", "首位"}, ["shǒuxiàng"] = { "手相", "首相"}, ["shǒuxìn"] = { "守信", "手信"}, ["shòuxíng"] = { "受刑", "獸行"}, ["shòuyè"] = { "受業", "授業"}, ["shǒuyè"] = { "守夜", "守業", "首頁"}, ["shòuyì"] = { "受益", "授意"}, ["shòuyī"] = { "壽衣", "獸醫"}, ["shǒuyì"] = { "手藝", "首邑"}, ["shòuyǔ"] = { "授予", "授與"}, ["shǒuzhá"] = { "手札", "手閘"}, ["shǒuzhǎng"] = { "手掌", "首長"}, ["shòuzhì"] = { "受制", "受質"}, ["shǒuzhǐ"] = { "手指", "手紙"}, ["shuàixiān"] = { "帥先", "率先"}, ["shuāngchéng"] = { "雙城", "雙成"}, ["shuāngshēng"] = { "雙生", "雙聲"}, ["shūchéng"] = { "書城", "舒城"}, ["shùdí"] = { "樹敵", "豎笛"}, ["shūhū"] = { "倏忽", "疏忽"}, ["shūhuǎn"] = { "紓緩", "舒緩"}, ["shuǐchéng"] = { "水城", "水程"}, ["shuǐdào"] = { "水稻", "水道"}, ["shuǐjǐng"] = { "水井", "水景", "水警"}, ["shuǐlì"] = { "水利", "水力"}, ["shuǐlù"] = { "水路", "水陸"}, ["shuǐpào"] = { "水泡", "水炮", "水疱"}, ["shuǐpíng"] = { "水平", "水瓶"}, ["shuǐqì"] = { "水氣", "水汽"}, ["shuǐtǎ"] = { "水塔", "水獺"}, ["shuǐwén"] = { "水文", "水紋"}, ["shuǐyuán"] = { "水原", "水源"}, ["shuǐzǎo"] = { "水藻", "水蚤"}, ["shuǐzhì"] = { "水蛭", "水質"}, ["shūjì"] = { "叔季", "書記"}, ["shūjiā"] = { "書家", "輸家"}, ["shūlǐ"] = { "梳理", "疏理"}, ["shùlì"] = { "樹立", "豎立"}, ["shùmù"] = { "數目", "樹木"}, ["shùnbiàn"] = { "順便", "順變"}, ["shúnǚ"] = { "淑女", "熟女"}, ["shuōcí"] = { "說詞", "說辭"}, ["shuōdào"] = { "說到", "說道"}, ["shuòguǒ"] = { "碩果", "蒴果"}, ["shǔqī"] = { "暑期", "鼠蹊"}, ["shùrén"] = { "庶人", "樹人"}, ["shūshì"] = { "書市", "舒適"}, ["shúshí"] = { "熟識", "熟食"}, ["shūxiě"] = { "抒寫", "書寫", "輸血"}, ["shùyīn"] = { "樹蔭", "樹陰"}, ["shùyǔ"] = { "術語", "述語"}, ["shūzhǎn"] = { "書展", "舒展"}, ["shùzhí"] = { "數值", "豎直", "述職"}, ["shùzhī"] = { "樹枝", "樹汁", "樹脂"}, ["shùzǐ"] = { "庶子", "豎子"}, ["sī'ānsuān"] = { "絲氨酸", "絲胺酸"}, ["sībiàn"] = { "思變", "思辨", "思辩", "思辯"}, ["sīchóu"] = { "私仇", "私讎", "絲綢"}, ["sīfǎ"] = { "司法", "私法"}, ["sìfú"] = { "伺服", "賜福"}, ["sǐjì"] = { "死寂", "死記"}, ["sījiā"] = { "思家", "私家"}, ["sīlì"] = { "司隸", "私利", "私立"}, ["sīlù"] = { "思路", "絲路"}, ["sīniàn"] = { "思念", "私念"}, ["sīshì"] = { "司事", "私事"}, ["sìshí"] = { "四十", "四時", "巳時"}, ["sīshū"] = { "司書", "私書"}, ["sìshuǐ"] = { "汜水", "泗水"}, ["sīsī"] = { "嘶嘶", "絲絲"}, ["sìwéi"] = { "四圍", "四維"}, ["sìyì"] = { "四藝", "肆意"}, ["sīyì"] = { "思議", "私意", "私議"}, ["sōngshān"] = { "嵩山", "松山"}, ["sòngzhōng"] = { "送終", "送中"}, ["sōuguā"] = { "搜刮", "搜身"}, ["sōují"] = { "搜集", "蒐集"}, ["sū'ānsuān"] = { "蘇氨酸", "蘇胺酸"}, ["suànshù"] = { "算數", "算術"}, ["suānzhī"] = { "提胡", "酸枝"}, ["sūfēi"] = { "蘇菲", "蘇非"}, ["suíhé"] = { "綏和", "隨和"}, ["suìshí"] = { "燧石", "碎石", "歲時"}, ["suíxìng"] = { "隨性", "隨興"}, ["súlì"] = { "俗例", "俗吏"}, ["suǒfēiyà"] = { "索菲亞", "索非亞"}, ["suǒfēiyǎ"] = { "索菲亞", "索非亞"}, ["suǒluóménqúndǎo"] = { "所羅門群島", "索羅門群島"}, ["suǒxìng"] = { "所幸", "索性"}, ["sùshè"] = { "宿舍", "速射"}, ["sùshí"] = { "素食", "速食"}, ["sùsù"] = { "宿宿", "簌簌"}, ["súyàn"] = { "俗諺", "俗豔"}, ["sùyǎng"] = { "素仰", "素養"}, ["sùyuán"] = { "夙緣", "溯源"}, ["sùyuàn"] = { "宿怨", "宿願"}, ["sùzhì"] = { "夙志", "素質"}, ["sùzhū"] = { "數珠", "訴諸"}, ["tāfāng"] = { "他方", "塌方"}, ["táifēng"] = { "臺風", "颱風"}, ["tàigǔ"] = { "太古", "太鼓"}, ["tàiyuán"] = { "太元", "太原"}, ["tāmen"] = { "他們", "她們", "它們", "牠們", "祂們"}, ["tǎnchéng"] = { "坦承", "坦誠"}, ["tāngchí"] = { "湯匙", "湯池"}, ["tángdì"] = { "唐棣", "堂弟", "棠棣"}, ["tánghuà"] = { "唐話", "糖化"}, ["tángrén"] = { "唐人", "糖人"}, ["tāngshuǐ"] = { "湯水", "趟水", "蹚水"}, ["tánhé"] = { "彈劾", "痰盒"}, ["tànhuà"] = { "炭化", "炭畫", "碳化"}, ["tànqì"] = { "嘆氣", "炭氣"}, ["tántán"] = { "曇曇", "談談"}, ["tànxī"] = { "嘆息", "嘆惜"}, ["tánzhǐ"] = { "彈指", "潭祉"}, ["tānzi"] = { "攤子", "癱子"}, ["táodùn"] = { "逃匿", "逃遁"}, ["táoqì"] = { "淘氣", "陶器"}, ["táoyì"] = { "逃逸", "陶藝"}, ["táoyuán"] = { "桃園", "桃源"}, ["táozuì"] = { "逃罪", "陶醉"}, ["tègōng"] = { "特供", "特工"}, ["tèjí"] = { "特急", "特級", "特輯", "特集"}, ["tèyì"] = { "特意", "特異"}, ["tèzhì"] = { "特製", "特質"}, ["tí'àn"] = { "堤岸", "提案"}, ["tiāndōng'ānsuān"] = { "天冬氨酸", "天冬胺酸"}, ["tiānfù"] = { "天父", "天賦"}, ["tiānfùluó"] = { "天婦羅", "天富羅"}, ["tiāngōng"] = { "天公", "天宮", "天工"}, ["tiānhòu"] = { "天候", "天后"}, ["tiānjiè"] = { "天戒", "天界"}, ["tiánjìng"] = { "恬靜", "田徑"}, ["tiānméndōng'ānsuān"] = { "天門冬氨酸", "天門冬胺酸"}, ["tiánmì"] = { "恬謐", "甜蜜"}, ["tiānmù"] = { "天幕", "天目"}, ["tiānpíng"] = { "天平", "天秤"}, ["tiānshēngwǒcáibìyǒuyòng"] = { "天生我才必有用", "天生我材必有用"}, ["tiánshǔ"] = { "甜薯", "田鼠"}, ["tiāntái"] = { "天台", "天臺"}, ["tiāntáishān"] = { "天台山", "天臺山"}, ["tiānwáng"] = { "天亡", "天王"}, ["tiányuán"] = { "田原", "田園"}, ["tiānzhú"] = { "天竹", "天竺"}, ["tiānzī"] = { "天姿", "天資"}, ["tiáofú"] = { "條幅", "調幅"}, ["tiáohé"] = { "調合", "調和"}, ["tiáolǐ"] = { "條理", "調理"}, ["tiáoshì"] = { "調試", "調適"}, ["tiáowén"] = { "條文", "條紋"}, ["tiáozhì"] = { "調治", "調制", "調製"}, ["tíbá"] = { "提拔", "題跋"}, ["tící"] = { "提詞", "題詞"}, ["tiěqiāo"] = { "鐵橇", "鐵鍬"}, ["tiězhēn"] = { "鐵砧", "鐵針"}, ["tífáng"] = { "堤防", "提防"}, ["tíhú"] = { "提壺", "提胡", "醍醐", "鵜鶘"}, ["tíkuǎn"] = { "提款", "題款"}, ["tǐlì"] = { "體例", "體力"}, ["tímíng"] = { "提名", "題名"}, ["tíngbó"] = { "停搏", "停泊"}, ["tíngbù"] = { "停步", "廷布"}, ["tīngzhèng"] = { "聽政", "聽證"}, ["tíngzhù"] = { "停住", "庭柱"}, ["tǐwàishòujīng"] = { "體外受精", "體外授精"}, ["tǐwèi"] = { "體位", "體味"}, ["tǐxíng"] = { "體型", "體形"}, ["tǐzhì"] = { "體制", "體質"}, ["tízi"] = { "提子", "蹄子"}, ["tóngbǎn"] = { "銅板", "銅版"}, ["tǒngcāng"] = { "筒倉", "統艙"}, ["tónggōng"] = { "桐宮", "童工"}, ["tónggǔ"] = { "同鼓", "銅鼓"}, ["tónghuà"] = { "同化", "童話"}, ["tōnghuà"] = { "通化", "通話"}, ["tōngjī"] = { "追緝", "通緝"}, ["tòngkū"] = { "慟哭", "痛哭"}, ["tōnglì"] = { "通例", "通力"}, ["tónglíng"] = { "同齡", "銅陵"}, ["tóngméng"] = { "同盟", "朣朦"}, ["tōngmíng"] = { "通名", "通明"}, ["tóngnián"] = { "同年", "童年"}, ["tōngqì"] = { "追緝", "通氣", "通緝"}, ["tóngqián"] = { "同前", "銅錢"}, ["tóngrén"] = { "同人", "同仁", "瞳人", "瞳仁", "銅仁"}, ["tóngshēng"] = { "同生", "同聲", "桐生", "童生", "童聲"}, ["tǒngshuài"] = { "統帥", "統率"}, ["tóngxīn"] = { "同心", "童心"}, ["tóngxìng"] = { "同姓", "同性"}, ["tóngyì"] = { "同意", "同異", "同義"}, ["tóngzhēn"] = { "童真", "童貞"}, ["tóngzhì"] = { "同志", "同治", "同質", "童稚"}, ["tǒngzhì"] = { "統制", "統治"}, ["tóngzǐ"] = { "桐梓", "瞳子", "童子"}, ["tōu'ān"] = { "偷安", "偷襲"}, ["tóushī"] = { "投師", "頭蝨"}, ["tóusù"] = { "投宿", "投訴"}, ["tóuyī"] = { "投醫", "頭一"}, ["tóuzi"] = { "頭子", "骰子"}, ["tuányuán"] = { "團員", "團圓"}, ["tú'àn"] = { "圖案", "屠岸"}, ["túchéng"] = { "屠城", "途程"}, ["tūchū"] = { "凸出", "突出"}, ["tǔféiyuán"] = { "土肥原", "土肥圓"}, ["tuìcháo"] = { "退朝", "退潮"}, ["tuīdǎo"] = { "推倒", "推導"}, ["tuìhuà"] = { "蛻化", "退化"}, ["tuījiàn"] = { "推薦", "推見"}, ["tuītuō"] = { "推脫", "推託"}, ["tuīxiè"] = { "推卸", "推謝"}, ["tújí"] = { "圖集", "突擊"}, ["túnjī"] = { "囤積", "屯積"}, ["túnzhù"] = { "屯住", "屯駐"}, ["tuōyán"] = { "拖延", "脫鹽", "託言"}, ["túpiàn"] = { "圖片", "塗片"}, ["tūqǐ"] = { "凸起", "突起"}, ["tǔqì"] = { "吐棄", "吐氣", "土氣"}, ["túrán"] = { "徒然", "突然"}, ["tǔsī"] = { "吐司", "土司"}, ["túxíng"] = { "圖形", "徒刑"}, ["tǔzhì"] = { "土製", "土質"}, ["wàijiā"] = { "外加", "外家"}, ["wàimào"] = { "外貌", "外貿"}, ["wàishāng"] = { "外傷", "外商"}, ["wàixíng"] = { "外型", "外形"}, ["wǎn'ān"] = { "晚安", "晩安"}, ["wánbì"] = { "完璧", "完畢"}, ["wǎncí"] = { "婉詞", "婉辭"}, ["wángguó"] = { "亡國", "王國"}, ["wǎngjī"] = { "往績", "往跡"}, ["wǎngjì"] = { "往績", "往跡", "網際"}, ["wàngjì"] = { "忘記", "旺季"}, ["wàngjiǎo"] = { "旺角", "望角"}, ["wǎngláizhànghù"] = { "往來帳戶", "往來賬戶"}, ["wángmìng"] = { "亡命", "王命"}, ["wángmǔ"] = { "亡母", "王母"}, ["wàngshì"] = { "旺勢", "旺市"}, ["wángshì"] = { "王事", "王室"}, ["wàngǔ"] = { "腕骨", "萬古"}, ["wǎngwǎng"] = { "往往", "惘惘"}, ["wánshì"] = { "完事", "玩世"}, ["wànshì"] = { "玩世", "萬世", "萬事"}, ["wānwān"] = { "彎彎", "灣灣"}, ["wǎnzhuǎn"] = { "婉轉", "宛轉"}, ["wēi'érgāng"] = { "威而剛", "威而鋼"}, ["wèibì"] = { "偽幣", "未必", "畏避", "胃壁"}, ["wéibó"] = { "圍脖", "微博", "微薄", "韋伯"}, ["wēibó"] = { "微博", "微薄"}, ["wèicháng"] = { "未嘗", "胃腸"}, ["wéichén"] = { "微塵", "微臣"}, ["wēichén"] = { "微塵", "微臣"}, ["wèichéng"] = { "渭城", "衛城"}, ["wéicí"] = { "微詞", "微辭"}, ["wēicí"] = { "微詞", "微辭"}, ["wéifáng"] = { "危房", "濰坊"}, ["wēifēng"] = { "威風", "微風"}, ["wéigān"] = { "桅杆", "桅桿"}, ["wéiguān"] = { "圍觀", "微觀"}, ["wèiguó"] = { "衛國", "魏國"}, ["wéihài"] = { "危害", "為害"}, ["wéihé"] = { "圍合", "維和", "違和"}, ["wèihé"] = { "渭河", "為何"}, ["wéijí"] = { "危及", "危急"}, ["wēijí"] = { "危及", "危急"}, ["wēijī"] = { "危機", "微機"}, ["wéijī"] = { "危機", "微機", "維基"}, ["wèijí"] = { "未及", "蝟集"}, ["wèijīng"] = { "味精", "未經"}, ["wēimǐ"] = { "微米", "萎靡"}, ["wèimiǎn"] = { "慰勉", "未免", "衛冕"}, ["wèinán"] = { "渭南", "畏難"}, ["wěiqì"] = { "偉器", "尾氣"}, ["wéiqí"] = { "圍棋", "為期"}, ["wèishí"] = { "未時", "餵食"}, ["wèishì"] = { "衛士", "衛視"}, ["wèishù"] = { "位數", "衛戍"}, ["wèisuō"] = { "畏縮", "蝟縮"}, ["wěiwěi"] = { "唯唯", "娓娓"}, ["wéiwéi"] = { "唯唯", "巍巍"}, ["wēiwēi"] = { "巍巍", "微微"}, ["wéiwǔ"] = { "為伍", "違忤"}, ["wéixì"] = { "微細", "維繫"}, ["wéixiàn"] = { "為限", "違憲"}, ["wéixīn"] = { "唯心", "惟心", "維新", "違心"}, ["wēixìn"] = { "威信", "微信"}, ["wēiyán"] = { "威嚴", "微言"}, ["wèiyán"] = { "胃炎", "胃癌"}, ["wéiyī"] = { "唯一", "韋衣"}, ["wēiyí"] = { "委蛇", "威儀", "逶迤"}, ["wèiyǒu"] = { "偽友", "未有", "畏友"}, ["wèizhī"] = { "未知", "胃汁"}, ["wěizi"] = { "尾子", "葦子"}, ["wéncí"] = { "文詞", "文辭"}, ["wèndá"] = { "問答", "聞達"}, ["wéndú"] = { "文牘", "文讀"}, ["wéngé"] = {"文革", "文蛤"}, ["wénjù"] = { " 文具", "文句"}, ["wénlái"] = { "文萊", "汶萊"}, ["wénlǐ"] = { "文理", "紋理"}, ["wénmíng"] = { "文名", "文明", "聞名"}, ["wénrén"] = { "文人", "聞人"}, ["wénshēn"] = { "文身", "紋身"}, ["wènshì"] = { "問世", "文飾"}, ["wénshì"] = { "文士", "文飾"}, ["wényú"] = { "文娛", "文魚"}, ["wénzhāng"] = { "文章", "紋章"}, ["wòsībǎo"] = { "沃思堡", "沃斯堡"}, ["wǔ'èrlíng"] = { "520", "五二零"}, ["wǔbà"] = { "五伯", "五霸"}, ["wǔcháng"] = { "五常", "武場"}, ["wúcháng"] = { "無償", "無常"}, ["wǔdà"] = { "五大", "武大"}, ["wǔdǎo"] = { "五島", "舞蹈"}, ["wǔdào"] = { "武道", "舞蹈"}, ["wùdǎo"] = { "誤導", "霧島"}, ["wǔdé"] = { "武德", "舞德"}, ["wūdōng"] = { "烏冬", "烏鶇"}, ["wǔgōng"] = { "仵工", "武功"}, ["wǔguān"] = { "五官", "武官", "武關"}, ["wūjī"] = { "污跡", "烏雞"}, ["wújí"] = { "無及", "無極"}, ["wújì"] = { "無忌", "無計"}, ["wùjiàn"] = { "晤見", "物件"}, ["wújǐng"] = { "吳景", "吳璟"}, ["wújīngdǎcǎi"] = { "無精打彩", "無精打采"}, ["wúlǐ"] = { "無理", "無禮"}, ["wǔlíng"] = { "五陵", "武陵"}, ["wūmiè"] = { "污蔑", "誣蔑"}, ["wúmíng"] = { "無名", "無明"}, ["wúrén"] = { "吾人", "無人"}, ["wūrǔ"] = { "侮辱", "污辱"}, ["wǔshí"] = { "五十", "午時"}, ["wùshí"] = { "務實", "物什"}, ["wúshì"] = { "無事", "無視"}, ["wùshì"] = { "物事", "誤事"}, ["wúwàng"] = { "無妄", "無望"}, ["wúwèi"] = { "無味", "無畏", "無謂"}, ["wúwù"] = { "無物", "無誤"}, ["wúxí"] = { "無息", "無錫"}, ["wúxī"] = { "無息", "無錫"}, ["wúxiàn"] = { "吳縣", "無線", "無限"}, ["wúxū"] = { "毋須", "無須", "無需"}, ["wúyán"] = { "無言", "無顏"}, ["wúyì"] = { "無意", "無異", "無益", "無義"}, ["wùyì"] = { "物議", "誤譯"}, ["wúyīn"] = { "吳音", "無音"}, ["wúyǔ"] = { "吳語", "無語"}, ["wūyǔ"] = { "屋宇", "巫語"}, ["wǔyuè"] = { "五岳", "五嶽", "五月"}, ["wùzhí"] = { "物質", "誤植"}, ["xī'ān"] = { "西安", "醯胺"}, ["xī'àn"] = { "西岸", "醯胺"}, ["xiàjí"] = { "下極", "下級", "下集"}, ["xiàjià"] = { "下嫁", "下架"}, ["xiàliè"] = { "下列", "下劣"}, ["xiàlìng"] = { "下令", "夏令"}, ["xiàmén"] = { "下門", "廈門"}, ["xiàmiàn"] = { "下面", "下麵"}, ["xiānbèi"] = { "先輩", "仙貝"}, ["xiànchéng"] = { "現成", "線程", "縣城"}, ["xiánfàn"] = { "嫌犯", "鹹飯"}, ["xiāngbào"] = { "相報", "相抱"}, ["xiāngcài"] = { "湘菜", "香菜"}, ["xiāngchéng"] = { "相承", "香橙"}, ["xiāngchóu"] = { "相酬", "鄉愁"}, ["xiàngdǎo"] = { "向導", "嚮導"}, ["xiángfú"] = { "降伏", "降服"}, ["xiāngjiàn"] = { "相見", "相間"}, ["xiāngjiāo"] = { "相交", "香蕉"}, ["xiàngjiào"] = { "相較", "象教"}, ["xiāngjù"] = { "湘劇", "相聚", "相距", "薌劇"}, ["xiàngmào"] = { "像貌", "相貌"}, ["xiàngmù"] = { "嚮慕", "橡木", "項目"}, ["xiàngpí"] = { "橡皮", "象皮"}, ["xiàngpiàn"] = { "像片", "相片"}, ["xiàngpiān"] = { "像片", "相片"}, ["xiāngqīn"] = { "相親", "鄉親"}, ["xiāngrú"] = { "香茹", "香薷"}, ["xiāngshì"] = { "相視", "相識", "鄉試"}, ["xiàngshù"] = { "橡樹", "相術"}, ["xiāngsī"] = { "相思", "鄉思"}, ["xiāngtán"] = { "湘潭", "相談", "鄉談"}, ["xiāngwéi"] = { "相為", "相違"}, ["xiǎngxiàng"] = { "想像", "想象"}, ["xiǎngxiànglì"] = { "想像力", "想象力"}, ["xiāngyīn"] = { "相因", "鄉音"}, ["xiāngyìng"] = { "相應", "相映"}, ["xiāngyǔ"] = { "湘語", "相與"}, ["xiàngzhě"] = { "向者", "相者"}, ["xiāngzhī"] = { "相知", "香脂", "香芝"}, ["xiánhuì"] = { "賢惠", "賢慧"}, ["xiànjì"] = { "獻技", "獻計"}, ["xiànjiè"] = { "縣界", "限界"}, ["xiànjīn"] = { "獻金", "現今", "現金"}, ["xiánjìng"] = { "咸鏡", "嫻靜"}, ["xiānlì"] = { "先例", "暹粒", "鮮麗"}, ["xiānliè"] = { "先烈", "鮮烈"}, ["xiànlìng"] = { "縣令", "限令"}, ["xiānqín"] = { "仙禽", "先秦"}, ["xiānrén"] = { "仙人", "先人"}, ["xiánrén"] = { "賢人", "閒人"}, ["xiànshàng"] = { "獻上", "線上"}, ["xiànshēn"] = { "獻身", "現身", "陷身"}, ["xiānshì"] = { "仙逝", "先世", "先是"}, ["xiánshī"] = { "弦詩", "鹹濕"}, ["xiànshì"] = { "現世", "縣市"}, ["xiànshí"] = { "現實", "現時", "限時", "霰石"}, ["xiánshì"] = { "賢士", "閒事", "閒適"}, ["xiánshú"] = { "嫻熟", "賢淑"}, ["xiánshuǐ"] = { "涎水", "鹹水"}, ["xiànxià"] = { "現下", "線下"}, ["xiànxíng"] = { "現形", "現行", "線形", "限行"}, ["xiǎnyào"] = { "險要", "顯要"}, ["xiányí"] = { "咸宜", "嫌疑"}, ["xiànzài"] = { "現在", "見在"}, ["xiànzhì"] = { "縣志", "限制"}, ["xiāobāng"] = { "肖邦", "蕭邦"}, ["xiǎochéng"] = { "小乘", "小城"}, ["xiǎode"] = { "小的", "曉得"}, ["xiàofú"] = { "孝服", "校服"}, ["xiāohuà"] = { "消化", "硝化"}, ["xiǎojiāhuǒ"] = { "小傢伙", "小家伙"}, ["xiǎojiě"] = { "小姐", "小解"}, ["xiǎojié"] = { "小節", "小結"}, ["xiǎojìng"] = { "小徑", "小淨"}, ["xiàolì"] = { "效力", "校曆"}, ["xiǎoqì"] = { "小憩", "小氣"}, ["xiǎoshān"] = { "小山", "篠山"}, ["xiǎoshēng"] = { "小生", "小聲"}, ["xiǎoshì"] = { "小事", "小視"}, ["xiǎoshí"] = { "小時", "小食"}, ["xiāoshì"] = { "消逝", "消釋"}, ["xiāoshí"] = { "消食", "硝石", "銷蝕"}, ["xiāoshòu"] = { "消受", "消瘦", "銷售"}, ["xiǎoshǔ"] = { "小暑", "小鼠"}, ["xiàosǐ"] = { "效死", "笑死"}, ["xiǎotídàzuò"] = { "小題大作", "小題大做"}, ["xiàoyì"] = { "孝義", "效益", "笑意"}, ["xiǎoyí"] = { "小姨", "小遺"}, ["xiǎoyú"] = { "小於", "小魚"}, ["xiàoyuán"] = { "孝元", "校園"}, ["xiǎozhàng"] = { "小帳", "小賬"}, ["xiǎozhū"] = { "小諸", "小豬"}, ["xiǎozhuàn"] = { "小傳", "小篆"}, ["xiàrén"] = { "下人", "嚇人"}, ["xiàshì"] = { "下世", "下士"}, ["xiàxiàn"] = { "下線", "下限"}, ["xiáyì"] = { "俠義", "狹義"}, ["xiàzǎi"] = { "下崽", "下載"}, ["xiázhì"] = { "挾制", "轄制", "黠智"}, ["xībó"] = { "稀薄", "錫伯", "錫箔"}, ["xíbó"] = { "錫伯", "錫箔"}, ["xībù"] = { "膝部", "西部"}, ["xīchuān"] = { "熙川", "西川"}, ["xìcí"] = { "係詞", "系詞"}, ["xié'ānsuān"] = { "纈氨酸", "纈胺酸"}, ["xiěběn"] = { "寫本", "血本"}, ["xiédài"] = { "攜帶", "鞋帶"}, ["xiéhé"] = { "協和", "諧和", "鞋盒"}, ["xièlòu"] = { "泄露", "洩漏", "洩露"}, ["xiélù"] = { "斜路", "邪路"}, ["xièlù"] = { "泄露", "洩露"}, ["xiéshì"] = { "斜視", "邪視"}, ["xiétóng"] = { "協同", "攜同"}, ["xiěyì"] = { "寫意", "血液"}, ["xièzhuāng"] = { "卸妝", "卸裝"}, ["xiēzi"] = { "楔子", "蠍子"}, ["xīfú"] = { "西弗", "西服"}, ["xīhǎi"] = { "*醯醢", "西海", "醯醢"}, ["xījìn"] = { "西晉", "西進"}, ["xījīng"] = { "吸睛", "西京", "西經"}, ["xìjūn"] = { "細君", "細菌"}, ["xīlán"] = { "西蘭", "錫蘭"}, ["xīlánhuā"] = { "西藍花", "西蘭花"}, ["xīlì"] = { "吸力", "悉力", "惜力", "淅瀝", "犀利", "西曆"}, ["xílì"] = { "惜力", "習例"}, ["xīluò"] = { "奚落", "稀落"}, ["xìmù"] = { "戲目", "細目"}, ["xīnán"] = { "息男", "西南"}, ["xīncái"] = { "心材", "心裁"}, ["xīncháo"] = { "心潮", "新朝", "新潮"}, ["xīndì"] = { "心地", "新地"}, ["xīnfáng"] = { "心房", "新房"}, ["xìnfēng"] = { "信封", "信風"}, ["xīnfù"] = { "心腹", "新婦"}, ["xīngān"] = { "心甘", "心肝"}, ["xíngbiàn"] = { "形便", "形變"}, ["xíngbù"] = { "刑部", "行部"}, ["xíngchéng"] = { "形成", "行程"}, ["xíngfáng"] = { "刑房", "行房"}, ["xíngjì"] = { "形跡", "行跡"}, ["xíngjī"] = { "形跡", "行跡"}, ["xínglǐ"] = { "行李", "行禮"}, ["xínglù"] = { "型錄", "行路"}, ["xíngqī"] = { "刑期", "行期"}, ["xíngqí"] = { "刑期", "行期", "行棋"}, ["xíngqiè"] = { "行竊", "行篋"}, ["xíngrén"] = { "刑人", "行人"}, ["xíngshì"] = { "刑事", "型式", "形勢", "形式", "行事"}, ["xìngshì"] = { "姓氏", "幸事"}, ["xíngshǐ"] = { "行使", "行駛"}, ["xíngtài"] = { "型態", "形態"}, ["xíngtiān"] = { "刑天", "形天", "形夭"}, ["xīngwèi"] = { "腥味", "興味"}, ["xǐngwù"] = { "省悟", "醒悟"}, ["xíngxiàng"] = { "形像", "形象"}, ["xīngxiàng"] = { "星相", "星象"}, ["xīngxīng"] = { "惺惺", "星星"}, ["xīngyè"] = { "星夜", "興業"}, ["xíngzhèngqūhuà"] = { "行政區劃", "行政區畫"}, ["xìngzhì"] = { "性質", "興致"}, ["xíngzhuàng"] = { "形狀", "行狀"}, ["xìngzhuàng"] = { "性狀", "行狀"}, ["xìngzi"] = { "性子", "杏子"}, ["xīnhuǒ"] = { "心火", "薪火"}, ["xīnjì"] = { "心悸", "心計", "心跡"}, ["xīnjī"] = { "心機", "心肌", "心跡"}, ["xīnjiàn"] = { "新建", "新見"}, ["xīnjiāpō"] = { "新加坡", "新嘉坡"}, ["xīnjīn"] = { "新津", "薪金"}, ["xīnlì"] = { "心力", "新曆"}, ["xīnlǜ"] = { "心律", "心率", "新綠"}, ["xīnmù"] = { "心目", "欣慕", "歆慕"}, ["xīnpiàn"] = { "新片", "芯片"}, ["xīnshēng"] = { "心聲", "新生"}, ["xìnshǐ"] = { "信使", "信史"}, ["xìnshí"] = { "信實", "信石"}, ["xīnshì"] = { "心事", "心室", "新式"}, ["xìnshǒu"] = { "信守", "信手"}, ["xīnshuǐ"] = { "心水", "薪水"}, ["xīnsuān"] = { "心酸", "辛酸"}, ["xīntián"] = { "心田", "新田"}, ["xīnwén"] = { "新聞", "欣聞"}, ["xīnxǐ"] = { "忻喜", "新禧", "欣喜"}, ["xīnxiàn"] = { "欣羨", "歆羨"}, ["xīnxiǎng"] = { "心想", "薪餉"}, ["xīnxiāng"] = { "新鄉", "馨香"}, ["xīnxīn"] = { "欣欣", "莘莘"}, ["xīnxīng"] = { "新星", "新興"}, ["xīnyí"] = { "心儀", "心疑", "辛夷"}, ["xīnyì"] = { "心意", "新意", "新異"}, ["xīnyuán"] = { "新元", "新垣"}, ["xīnzhì"] = { "心志", "心智"}, ["xīnzhōu"] = { "忻州", "新州"}, ["xīnzhuāng"] = { "新庄", "新莊"}, ["xīnzi"] = { "心子", "芯子"}, ["xīnzuò"] = { "新作", "新座"}, ["xióngfēng"] = { "熊蜂", "雄蜂", "雄風"}, ["xiōngqì"] = { "凶器", "胸器"}, ["xiōngzhào"] = { "凶兆", "胸罩"}, ["xīpí"] = { "嬉皮", "西皮"}, ["xīqì"] = { "吸氣", "錫器"}, ["xīqí"] = { "希奇", "稀奇"}, ["xíqì"] = { "習氣", "錫器"}, ["xīqín"] = { "奚琴", "西秦"}, ["xīrén"] = { "昔人", "西人", "錫人"}, ["xírén"] = { "昔人", "錫人"}, ["xīrì"] = { "夕日", "昔日"}, ["xīshēng"] = { "吸聲", "犧牲"}, ["xīshí"] = { "吸食", "昔時", "錫石"}, ["xíshí"] = { "昔時", "錫石"}, ["xīshì"] = { "稀世", "稀釋", "西式"}, ["xìshù"] = { "係數", "系數"}, ["xītǎ'ěrqín"] = { "西塔爾琴", "錫塔爾琴"}, ["xītóu"] = { "膝頭", "西頭"}, ["xiùjué"] = { "嗅覺", "臭覺"}, ["xiūkè"] = { "休克", "修課"}, ["xiūqī"] = { "休妻", "休戚"}, ["xiūqì"] = { "休憩", "修葺"}, ["xiūshì"] = { "修士", "修飾"}, ["xiūyǎng"] = { "休養", "修養"}, ["xiūyè"] = { "休業", "修業"}, ["xiūzhěng"] = { "休整", "修整"}, ["xiūzhú"] = { "修竹", "修築"}, ["xīxī"] = { "兮兮", "嘻嘻", "夕夕", "昔昔", "栖栖", "西溪", "西西"}, ["xīxià"] = { "膝下", "西夏"}, ["xìxīn"] = { "細心", "細辛"}, ["xìyáng"] = { "夕陽", "細陽"}, ["xīyáng"] = { "夕陽", "西洋"}, ["xīyǒu"] = { "希有", "稀有"}, ["xīyǔ"] = { "西予", "西語"}, ["xǐyuè"] = { "喜悅", "喜躍"}, ["xīyuè"] = { "西嶽", "西樂"}, ["xīzhōu"] = { "稀粥", "西周", "西州"}, ["xuānbù"] = { "宣佈", "宣布"}, ["xuánguān"] = { "懸棺", "玄關"}, ["xuānshì"] = { "宣示", "宣誓"}, ["xuányōngchuí"] = { "懸壅垂", "懸雍垂"}, ["xuānzhǐ"] = { "宣旨", "宣紙"}, ["xuěbào"] = { "雪暴", "雪豹"}, ["xuébù"] = { "學步", "學部"}, ["xuěchéng"] = { "血橙", "雪城"}, ["xuélì"] = { "學力", "學歷"}, ["xuělǐhóng"] = { "雪裡紅", "雪裡蕻"}, ["xuěqiú"] = { "血球", "雪球"}, ["xuéshì"] = { "學士", "學識"}, ["xuéshí"] = { "學時", "學識"}, ["xuéwèi"] = { "學位", "穴位"}, ["xuéxiào"] = { "學效", "學校"}, ["xuèyè"] = { "血業", "血液", "血葉"}, ["xuěyè"] = { "血業", "血液", "血葉", "雪夜"}, ["xuěyú"] = { "雪魚", "鱈魚"}, ["xuěyuán"] = { "血緣", "雪原"}, ["xūjīng"] = { "虛驚", "鬚鯨"}, ["xūlǐ"] = { "墟里", "虛禮"}, ["xùmù"] = { "序幕", "序目", "畜牧"}, ["xùnhuà"] = { "訓話", "馴化"}, ["xúnluó"] = { "巡邏", "巡邏車"}, ["xùnqíng"] = { "殉情", "汛情"}, ["xúnwèn"] = { "尋問", "詢問"}, ["xùnxí"] = { "訊息", "訓習"}, ["xūshì"] = { "墟市", "虛室"}, ["xūshí"] = { "戌時", "虛實"}, ["xùshù"] = { "序數", "敘述"}, ["xùyán"] = { "序言", "緒言"}, ["xùyǎng"] = { "畜養", "蓄養"}, ["xūyào"] = { "需要", "須要"}, ["yá'àn"] = { "崖岸", "涯岸"}, ["yābà"] = { "壓霸", "鴨霸"}, ["yábān"] = { "牙斑", "牙班"}, ["yáguān"] = { "牙冠", "牙關"}, ["yājià"] = { "壓價", "鴨架"}, ["yàmián"] = { "亞眠", "軋棉"}, ["yǎnbì"] = { "掩蔽", "掩閉"}, ["yǎnbiàn"] = { "演變", "衍變"}, ["yáncháng"] = { "延長", "鹽場"}, ["yánchéng"] = { "嚴懲", "鹽城"}, ["yánchí"] = { "延遲", "鹽池"}, ["yánchǔ"] = { "嚴處", "研杵"}, ["yándú"] = { "研讀", "鹽瀆"}, ["yángchéng"] = { "羊城", "陽城"}, ["yángé"] = { "嚴格", "沿革"}, ["yángguān"] = { "羊倌", "陽關"}, ["yāngjí"] = { "央及", "殃及"}, ["yángmíng"] = { "揚名", "陽明"}, ["yángqì"] = { "揚棄", "洋氣"}, ["yángqín"] = { "揚琴", "洋琴"}, ["yángtáo"] = { "楊桃", "洋桃", "羊桃", "陽桃"}, ["yángyán"] = { "揚言", "陽炎"}, ["yàngyàng"] = { "怏怏", "樣樣"}, ["yángzhuāng"] = { "佯裝", "洋裝"}, ["yánhú"] = { "沿湖", "鹽湖"}, ["yǎnhuà"] = { "演化", "衍化"}, ["yánjiāng"] = { "岩漿", "沿江"}, ["yánjǐn"] = { "嚴緊", "嚴謹"}, ["yánmíng"] = { "嚴明", "言明"}, ["yànqì"] = { "厭棄", "嚥氣"}, ["yánshāng"] = { "研商", "鹽商"}, ["yǎnshēng"] = { "眼生", "衍生"}, ["yánshí"] = { "岩石", "巖石", "延時"}, ["yǎnshì"] = { "掩飾", "演示"}, ["yànshī"] = { "艷詩", "豔詩", "驗屍"}, ["yāntóu"] = { "咽頭", "煙頭"}, ["yánxí"] = { "沿襲", "研習", "筵席"}, ["yánxíng"] = { "嚴刑", "言行"}, ["yánxìng"] = { "延性", "言行"}, ["yányì"] = { "岩邑", "嵒邑"}, ["yányī"] = { "延醫", "研一"}, ["yǎnyì"] = { "演繹", "演義", "演藝"}, ["yànyuè"] = { "宴樂", "燕樂"}, ["yánzhèng"] = { "嚴正", "炎症", "癌症"}, ["yānzhī"] = { "焉知", "胭脂", "閼氏"}, ["yàodiǎn"] = { "藥典", "要點"}, ["yàofàn"] = { "要犯", "要飯"}, ["yāogǔ"] = { "腰骨", "腰鼓"}, ["yāomó"] = { "妖魔", "幺麼"}, ["yàoshi"] = { "要是", "鑰匙"}, ["yāoxié"] = { "妖邪", "要挾"}, ["yáoyì"] = { "徭役", "搖曳"}, ["yāpiàn"] = { "雅片", "鴉片"}, ["yātou"] = { "丫頭", "押頭"}, ["yàyì"] = { "亞裔", "訝異"}, ["yǎyì"] = { "亞裔", "雅意"}, ["yāyùn"] = { "壓韻", "押運", "押韻"}, ["yāzhà"] = { "啞吒", "壓榨"}, ["yāzhì"] = { "壓制", "壓製"}, ["yǎzhì"] = { "雅緻", "雅致"}, ["yāzi"] = { "丫子", "鴨子"}, ["yèguǒ"] = { "業果", "液果"}, ["yèjīng"] = { "業經", "液晶"}, ["yèwù"] = { "夜霧", "業務"}, ["yèxiāo"] = { "夜宵", "夜梟"}, ["yìbái'ānsuān"] = { "異白氨酸", "異白胺酸"}, ["yībān"] = { "一斑", "一般"}, ["yìbāo"] = { "刈包", "液胞"}, ["yíbiǎo"] = { "儀表", "儀錶", "姨表", "遺表"}, ["yìbìng"] = { "疫病", "癔病"}, ["yībù"] = { "一步", "一部"}, ["yìcái"] = { "異才", "逸才"}, ["yìcè"] = { "翼側", "臆測"}, ["yīchéng"] = { "一成", "一程"}, ["yīdài"] = { "衣帶", "衣袋"}, ["yídài"] = { "一代", "一帶"}, ["yìdàlì'miàntiáo"] = { "意大利麵條", "義大利麵條"}, ["yìdàlì"] = { "意大利", "義大利"}, ["yìdàlìfěn"] = { "意大利粉", "義大利粉"}, ["yìdàlìmiàn"] = { "意大利麵", "義大利麵"}, ["yìdàlìmiàntiáo"] = { "意大利麵條", "義大利麵條"}, ["yìdàlìshìchángmiàntiáo"] = { "意大利式長麵條", "義大利式長麵條"}, ["yìdàn"] = { "液氮", "藝旦"}, ["yìdì"] = { "異地", "義帝", "義弟"}, ["yìfěn"] = { "意粉", "義粉"}, ["yífù"] = { "姨父", "遺腹"}, ["yīgǔ"] = { "一股", "一鼓"}, ["yígǔ"] = { "疑古", "遺骨"}, ["yīguān"] = { "一關", "衣冠"}, ["yìhuà"] = { "液化", "異化", "逸話"}, ["yìhuì"] = { "意會", "議會"}, ["yìhuò"] = { "抑或", "異或"}, ["yíjì"] = { "疑忌", "遺記", "遺跡"}, ["yìjì"] = { "藝伎", "藝妓"}, ["yījiā"] = { "衣夾", "醫家"}, ["yìjiàn"] = { "意見", "異見"}, ["yījīng"] = { "一經", "一驚"}, ["yǐjīng"] = { "乙腈", "已經"}, ["yìjīng"] = { "易經", "譯經"}, ["yījiù"] = { "依舊", "一……就……"}, ["yíjū"] = { "宜居", "移居"}, ["yìláng"] = { "藝廊", "議郎"}, ["yìlì"] = { "屹立", "毅力", "疫癘"}, ["yìliàng'ānsuān"] = { "異亮氨酸", "異亮胺酸"}, ["yìmiàn"] = { "意麵", "義麵"}, ["yímín"] = { "移民", "遺民"}, ["yìmíng"] = { "佚名", "異名", "藝名", "譯名"}, ["yìmǔ"] = { "異母", "益母", "義母"}, ["yīndú"] = { "陰毒", "音讀"}, ["yīnfù"] = { "殷富", "陰阜"}, ["yīngbàng"] = { "英磅", "英鎊"}, ["yīngdàn"] = { "英擔", "英石"}, ["yīngdé"] = { "應得", "英德"}, ["yíngguāng"] = { "熒光", "萤光", "螢光"}, ["yínghuǒ"] = { "營火", "螢火"}, ["yìngjǐng"] = { "應景", "硬頸"}, ["yínglì"] = { "營利", "盈利", "贏利"}, ["yīngmíng"] = { "英名", "英明"}, ["yìngmù"] = { "應募", "硬木"}, ["yíngmù"] = { "熒幕", "螢幕"}, ["yīngōng"] = { "陰公", "陰功"}, ["yíngqǔ"] = { "贏取", "迎娶"}, ["yìngshì"] = { "應試", "硬是"}, ["yīngwǔ"] = { "英武", "鸚鵡"}, ["yǐngxiàng"] = { "影像", "影象"}, ["yíngyǎng"] = { "營養", "迎養"}, ["yíngyè"] = { "營業", "迎謁"}, ["yǐngyīn"] = { "影音", "穎陰"}, ["yíngyíng"] = { "熒熒", "盈盈"}, ["yìngzhào"] = { "應召", "應詔", "映照", "硬照"}, ["yǐnhuì"] = { "隱晦", "隱諱"}, ["yǐnjiàn"] = { "引薦", "引見"}, ["yǐnmì"] = { "隱密", "隱秘"}, ["yìnní"] = { "印尼", "印泥"}, ["yīnqín"] = { "慇勤", "殷勤"}, ["yǐnqíng"] = { "引擎", "隱情"}, ["yǐnshēn"] = { "引申", "隱身"}, ["yīnshī"] = { "陰濕", "陰虱", "陰蝨"}, ["yǐnshuǐ"] = { "引水", "飲水"}, ["yīnsù"] = { "因素", "音素", "音速"}, ["yǐntuì"] = { "引退", "隐退", "隱退"}, ["yīnwèi"] = { "因為", "音位"}, ["yīnxiào"] = { "陰笑", "音效"}, ["yīnxùn"] = { "音訊", "音訓"}, ["yīnyì"] = { "音義", "音譯"}, ["yǐnyòng"] = { "引用", "飲用"}, ["yǐnyǔ"] = { "引語", "隱語"}, ["yínyǔ"] = { "淫語", "淫雨"}, ["yīnyù"] = { "陰鬱", "音域"}, ["yīnyuán"] = { "因緣", "姻緣"}, ["yínyuán"] = { "銀元", "銀圓"}, ["yīnzhí"] = { "音值", "音質"}, ["yīqí"] = { "一期", "壹岐"}, ["yíqì"] = { "儀器", "彝器", "彞器", "遺棄"}, ["yìqì"] = { "意氣", "疫氣", "義氣"}, ["yìrán"] = { "亦然", "易燃", "毅然"}, ["yírén"] = { "夷人", "宜人", "怡人"}, ["yìrén"] = { "義人", "藝人", "邑人"}, ["yìrì"] = { "異日", "翌日"}, ["yíróng"] = { "儀容", "遺容"}, ["yīshēng"] = { "一聲", "醫生"}, ["yīshì"] = { "一世", "伊勢", "醫士"}, ["yǐshì"] = { "以是", "倚勢", "倚恃"}, ["yìshǐ"] = { "役使", "逸史", "驛使"}, ["yìshì"] = { "意識", "抑是", "易事", "異事", "義士", "藝事", "藝士", "譯釋", "議事", "軼事", "逸事"}, ["yíshǐ"] = { "遺史", "遺矢"}, ["yǐsuān"] = { "乙酸", "蟻酸"}, ["yǐtàiwǎng"] = { "乙太網", "以太網"}, ["yìtǐ"] = { "液體", "異體"}, ["yǐwǎng"] = { "以往", "已往"}, ["yìwèi"] = { "意味", "異味"}, ["yìwén"] = { "譯文", "逸聞"}, ["yīwù"] = { "衣物", "醫務"}, ["yìwù"] = { "異物", "義務"}, ["yíwù"] = { "一物", "貽誤", "遺物"}, ["yìxí"] = { "一席", "議席"}, ["yǐxī"] = { "乙烯", "以西"}, ["yíxiàn"] = { "彝憲", "胰腺"}, ["yìxiàng"] = { "意向", "意象", "液相", "異象", "義項"}, ["yìxiǎng"] = { "意想", "臆想"}, ["yíxiànyán"] = { "胰腺炎", "胰腺癌"}, ["yīxiē"] = { "一些", "一歇"}, ["yīxīn"] = { "一心", "一新"}, ["yìxìng"] = { "意興", "異姓", "異性", "義行"}, ["yìyáng"] = { "抑揚", "益陽"}, ["yīyì"] = { "一億", "一意", "一義"}, ["yìyì"] = { "仡仡", "奕奕", "悒悒", "意義", "意譯", "熠熠", "異義", "異議", "翼翼", "譯意"}, ["yìyù"] = { "悒鬱", "意欲", "抑鬱", "異域"}, ["yīyuán"] = { "一元", "一員"}, ["yìyuàn"] = { "意願", "藝苑", "議院"}, ["yìyuán"] = { "譯員", "議員"}, ["yìzhàn"] = { "義戰", "驛站"}, ["yízhàng"] = { "儀仗", "姨丈"}, ["yǐzhì"] = { "以至", "以致"}, ["yìzhì"] = { "意志", "抑制", "易幟", "異志", "異質", "益智", "譯製"}, ["yìzhǐ"] = { "意旨", "懿旨", "抑止"}, ["yízhí"] = { "移植", "移殖"}, ["yīzhōu"] = { "伊周", "伊州"}, ["yìzhù"] = { "挹注", "譯著", "譯註"}, ["yìzhuāng"] = { "義莊", "異裝", "易裝"}, ["yízú"] = { "彝族", "遺族"}, ["yōngbīng"] = { "傭兵", "擁兵"}, ["yònggōng"] = { "用功", "用工"}, ["yòngjìn"] = { "用勁", "用盡"}, ["yǒnglì"] = { "勇力", "擁立"}, ["yònglì"] = { "用例", "用力"}, ["yōngrén"] = { "傭人", "庸人"}, ["yòngrén"] = { "傭人", "用人"}, ["yǒngshì"] = { "勇士", "永世", "永逝"}, ["yòngzuò"] = { "用作", "用做"}, ["yóubiāo"] = { "游標", "遊標"}, ["yóubù"] = { "油布", "由布"}, ["yóuchuán"] = { "油船", "游船", "遊船", "郵船"}, ["yóufèi"] = { "油費", "郵費"}, ["yōuhuì"] = { "優惠", "幽會"}, ["yǒujī"] = { "有奇", "有機"}, ["yóujī"] = { "油跡", "遊擊"}, ["yóujì"] = { "油跡", "遊記", "郵寄"}, ["yóulè"] = { "游樂", "遊樂"}, ["yǒulì"] = { "有利", "有力"}, ["yǒulǐ"] = { "有理", "有禮"}, ["yǒulíng"] = { "有零", "有靈"}, ["yóulún"] = { "油輪", "遊輪", "郵輪"}, ["yóumàicài"] = { "油麥菜", "莜麥菜"}, ["yóuqì"] = { "油氣", "遊憩"}, ["yǒuqíng"] = { "友情", "有情"}, ["yóurán"] = { "油然", "猶然"}, ["yǒurén"] = { "友人", "有人"}, ["yǒushén"] = { "有甚", "有神"}, ["yǒushēng"] = { "有生", "有聲"}, ["yǒushì"] = { "有事", "有識"}, ["yǒushí"] = { "有時", "有識", "酉時"}, ["yóushuǐ"] = { "油水", "游水"}, ["yōusī"] = { "幽思", "憂思"}, ["yǒusī"] = { "有司", "有私"}, ["yǒuxiàn"] = { "有線", "有限"}, ["yǒuxíng"] = { "有型", "有形"}, ["yǒuxìng"] = { "有幸", "有性"}, ["yóuxìng"] = { "油性", "遊興"}, ["yōuyǎ"] = { "優雅", "幽雅"}, ["yǒuyì"] = { "友誼", "有意", "有益"}, ["yóuyì"] = { "游弋", "遊藝"}, ["yōuyōu"] = { "呦呦", "悠悠"}, ["yōuyù"] = { "優裕", "優遇", "憂鬱"}, ["yòuyú"] = { "囿於", "幼魚"}, ["yóuyú"] = { "游魚", "由於", "魷魚"}, ["yòuzhì"] = { "幼稚", "誘致"}, ["yóuzì"] = { "油漬", "猶自"}, ["yuánběn"] = { "元本", "原本", "源本"}, ["yuáncháng"] = { "元常", "圓場"}, ["yuánfèn"] = { "猿糞", "緣份", "緣分"}, ["yuángù"] = { "原故", "緣故"}, ["yuánhào"] = { "元號", "圓號"}, ["yuánjiàn"] = { "元件", "原件", "援建"}, ["yuánjiāng"] = { "元江", "沅江"}, ["yuánqū"] = { "原曲", "園區"}, ["yuánshēngdài"] = { "原生代", "原聲帶"}, ["yuánshū"] = { "原書", "爰書"}, ["yuánsù"] = { "元素", "原宿"}, ["yuántián"] = { "原田", "園田"}, ["yuánwài"] = { "員外", "援外"}, ["yuànwàng"] = { "怨望", "願望"}, ["yuánxíng"] = { "原型", "原形", "圓形"}, ["yuányì"] = { "原意", "園藝"}, ["yuànyì"] = { "怨艾", "願意"}, ["yuányīn"] = { "元音", "原因"}, ["yuányóu"] = { "原油", "緣由"}, ["yuányuán"] = { "圓圓", "源源"}, ["yuányuè"] = { "元月", "圓月"}, ["yuánzhù"] = { "原著", "圓柱", "援助"}, ["yùbó"] = { "玉帛", "鬱勃"}, ["yùchí"] = { "尉遲", "浴池"}, ["yùdài"] = { "欲待", "玉帶"}, ["yùdào"] = { "御道", "遇到"}, ["yùdí"] = { "禦敵", "遇敵"}, ["yùdìng"] = { "預定", "預訂"}, ["yuèdōng"] = { "粵東", "越冬"}, ["yuèjīng"] = { "月經", "樂經"}, ["yuèjù"] = { "樂句", "粵劇", "越劇"}, ["yuèlì"] = { "月例", "月利", "月曆", "閱歷"}, ["yuēmo"] = { "約摸", "約莫"}, ["yuēpào"] = { "約炮", "約砲", "约炮"}, ["yuèshí"] = { "月蝕", "月食"}, ["yuēshù"] = { "約數", "約束"}, ["yuèxī"] = { "月息", "粵西"}, ["yuèzhàng"] = { "岳丈", "月賬"}, ["yuèzhī"] = { "月支", "月氏"}, ["yuèzhōng"] = { "月中", "月終", "越中"}, ["yùfáng"] = { "御坊", "預防"}, ["yúfū"] = { "漁夫", "魚夫"}, ["yùfūzuò"] = { "御夫座", "玉夫座"}, ["yúhuī"] = { "餘暉", "餘輝"}, ["yùjī"] = { "玉肌", "鬱積"}, ["yújiā"] = { "漁家", "瑜伽"}, ["yùjiàn"] = { "遇見", "預見"}, ["yùjiāzhīzuìhéhuànwúcí"] = { "欲加之罪，何患無詞", "欲加之罪，何患無辭"}, ["yùjīn"] = { "浴巾", "鬱金"}, ["yùjǐng"] = { "獄警", "玉井", "預警"}, ["yǔjù"] = { "語句", "雨具"}, ["yùkē"] = { "預科", "鷸科"}, ["yúkuài"] = { "愉快", "魚塊", "魚膾"}, ["yùlǎn"] = { "御覽", "預覽"}, ["yúlì"] = { "漁利", "餘利", "餘力"}, ["yúlín"] = { "榆林", "魚鱗"}, ["yùlín"] = { "玉林", "鬱林"}, ["yǔlù"] = { "語錄", "雨露"}, ["yúmín"] = { "愚民", "漁民"}, ["yùmíng"] = { "域名", "玉名"}, ["yùmóu"] = { "與謀", "預謀"}, ["yùndòng"] = { "暈動", "運動"}, ["yúndòu"] = { "芸豆", "雲豆"}, ["yùnfù"] = { "孕婦", "韻腹"}, ["yùnjiǎo"] = { "韻白", "韻腳"}, ["yúnshān"] = { "雲山", "雲杉"}, ["yùnshū"] = { "運輸", "韻書"}, ["yùnǚ"] = { "慾女", "玉女"}, ["yúpiāo"] = { "漁漂", "魚漂"}, ["yǔqí"] = { "與其", "雨期"}, ["yúqí"] = { "逾期", "魚鰭"}, ["yúqián"] = { "於潛", "榆錢"}, ["yùqiúbùmǎn"] = { "慾求不滿", "欲求不滿"}, ["yùrè"] = { "預熱", "鬱熱"}, ["yúrén"] = { "愚人", "漁人", "餘人"}, ["yúshēng"] = { "餘生", "魚生"}, ["yùshǐ"] = { "御史", "浴室", "獄室"}, ["yùshì"] = { "浴室", "獄室", "遇事", "預示", "預試"}, ["yúshù"] = { "榆樹", "餘數"}, ["yùsuǒ"] = { "寓所", "御所"}, ["yùtáng"] = { "浴堂", "玉堂"}, ["yúwán"] = { "愚頑", "魚丸"}, ["yúwǎng"] = { "漁網", "魚網"}, ["yǔwén"] = { "宇文", "語文"}, ["yùxí"] = { "遇襲", "預習"}, ["yúxián"] = { "餘弦", "餘閒"}, ["yùxiǎng"] = { "豫想", "預想"}, ["yùxiě"] = { "浴血", "鬱血"}, ["yūxiě"] = { "淤血", "瘀血"}, ["yùxuè"] = { "浴血", "鬱血"}, ["yùxuě"] = { "浴血", "鬱血"}, ["yūxuè"] = { "淤血", "瘀血"}, ["yūxuě"] = { "淤血", "瘀血"}, ["yùyán"] = { "寓言", "預言", "浴鹽"}, ["yúyáng"] = { "揄揚", "漁陽"}, ["yùyì"] = { "喻義", "寓意", "愈益", "浴液", "煜熠", "鬱抑"}, ["yùyī"] = { "御醫", "浴衣"}, ["yǔyì"] = { "羽翼", "語意", "語義", "雨意"}, ["yǔyī"] = { "羽衣", "雨衣"}, ["yúyóu"] = { "娛游", "魚油"}, ["yùyù"] = { "郁郁", "鬱鬱"}, ["yúyuè"] = { "愉悅", "逾越"}, ["yùzhī"] = { "預支", "預知"}, ["yùzhǔn"] = { "御準", "禦準"}, ["yùzú"] = { "獄卒", "鬱卒"}, ["yùzuò"] = { "御座", "玉座"}, ["zàijiàn"] = { "再建", "再見", "在建"}, ["zàirèn"] = { "再任", "在任"}, ["zàishēng"] = { "再生", "在生"}, ["zàixiàn"] = { "再現", "在線"}, ["zàiyì"] = { "再議", "在意"}, ["zànzhù"] = { "暫住", "贊助"}, ["zàogān"] = { "皂甘", "皂苷"}, ["zàohuà"] = { "皂化", "造化"}, ["zàojù"] = { "灶具", "造句"}, ["zǎoshì"] = { "早市", "早逝"}, ["zàoxíng"] = { "造型", "造形"}, ["zàoxuē"] = { "皁靴", "皂靴"}, ["záwù"] = { "雜務", "雜物"}, ["zázhì"] = { "雜誌", "雜質"}, ["zébèi"] = { "澤被", "責備"}, ["zēngchǎn"] = { "增產", "增産"}, ["zēngzhí"] = { "增值", "增殖"}, ["zháidì"] = { "宅地", "宅第"}, ["zhàndì"] = { "佔地", "戰地"}, ["zhàndǒu"] = { "戰抖", "顫抖"}, ["zhàngmù"] = { "帳幕", "賬目"}, ["zhàngpéng"] = { "帳棚", "帳篷"}, ["zhàngqì"] = { "瘴氣", "脹氣"}, ["zhǎngshì"] = { "漲勢", "長勢"}, ["zhǎngzǐ"] = { "長姊", "長子"}, ["zhànhuǒ"] = { "戰火", "蘸火"}, ["zhànjī"] = { "戰機", "戰績"}, ["zhànlì"] = { "戰力", "戰慄", "站立"}, ["zhǎnlù"] = { "展露", "嶄露"}, ["zhǎnshì"] = { "展室", "展示"}, ["zhànshì"] = { "戰事", "戰士"}, ["zhànshí"] = { "戰時", "暫時"}, ["zhānwàng"] = { "瞻望", "譫妄"}, ["zhànxiàn"] = { "佔線", "戰線"}, ["zhǎnxīn"] = { "嶄新", "斬新"}, ["zhànyǒu"] = { "佔有", "戰友"}, ["zhànzhù"] = { "佔住", "暫住", "站住"}, ["zhāogōng"] = { "招供", "招工"}, ["zhāojí"] = { "招集", "著急/着急"}, ["zhāolái"] = { "招來", "朝來"}, ["zhāoshōu"] = { "招手", "招收"}, ["zhàoshū"] = { "召書", "詔書"}, ["zhāoshù"] = { "招數", "著數/着数"}, ["zhāozhǎn"] = { "招展", "招颭"}, ["zhàqǔ"] = { "榨取", "詐取"}, ["zhéfú"] = { "懾服", "折服"}, ["zhēn'ài"] = { "珍愛", "真愛"}, ["zhēnchá"] = { "偵察", "偵查", "斟茶"}, ["zhèndàn"] = { "震旦", "震蛋", "振旦"}, ["zhèndàng"] = { "振盪", "震盪"}, ["zhèndòng"] = { "振動", "震動"}, ["zhèngdà"] = { "正大", "鄭大"}, ["zhēngfā"] = { "征伐", "徵發", "蒸發"}, ["zhèngfǎ"] = { "政法", "正法"}, ["zhènggē"] = { "正割", "正歌"}, ["zhèngjī"] = { "政績", "正畸"}, ["zhèngjiàn"] = { "政見", "證件"}, ["zhèngjiào"] = { "政教", "正教"}, ["zhèngjīng"] = { "政經", "正經"}, ["zhèngjuàn"] = { "證券", "證卷"}, ["zhèngmíng"] = { "正名", "證明"}, ["zhēngqì"] = { "爭氣", "蒸氣", "蒸汽"}, ["zhèngqì"] = { "正氣", "證訖"}, ["zhèngrén"] = { "正人", "證人"}, ["zhèngshì"] = { "政事", "正事", "正室", "正式", "正是", "正視"}, ["zhèngshǐ"] = { "正史", "正室", "正矢"}, ["zhèngtǐ"] = { "政體", "正體"}, ["zhèngwù"] = { "政務", "正誤", "證物"}, ["zhèngyào"] = { "政要", "正要"}, ["zhēngzhào"] = { "徵兆", "徵召"}, ["zhēngzhēng"] = { "丁丁", "錚錚"}, ["zhèngzhì"] = { "政治", "正治"}, ["zhèngzhí"] = { "正值", "正直", "正職"}, ["zhèngzì"] = { "正字", "正自"}, ["zhēnjī"] = { "偵緝", "真跡"}, ["zhēnjì"] = { "真跡", "針劑"}, ["zhènjiǎo"] = { "陣腳", "陣角"}, ["zhēnjié"] = { "貞潔", "貞節"}, ["zhènjìng"] = { "鎮静", "鎮靜"}, ["zhēnjiǔ"] = { "斟酒", "針灸"}, ["zhēnrén"] = { "真人", "貞人"}, ["zhēnshì"] = { "珍視", "甄試", "真事", "真是", "貞士"}, ["zhèntòng"] = { "鎮痛", "陣痛"}, ["zhēnwèi"] = { "珍味", "真偽"}, ["zhēnxī"] = { "珍惜", "珍稀"}, ["zhènxīng"] = { "振興", "鎮星"}, ["zhēnyán"] = { "真言", "箴言"}, ["zhēnyǎn"] = { "針眼", "針鼴"}, ["zhènyuán"] = { "陣圓", "震源"}, ["zhènzāi"] = { "賑災", "震災"}, ["zhēnzhī"] = { "真知", "針織"}, ["zhézhōng"] = { "折中", "折衷"}, ["zhíbǐ"] = { "執筆", "直筆"}, ["zhìbìng"] = { "治病", "致病"}, ["zhíbō"] = { "直撥", "直播"}, ["zhībù"] = { "支部", "織布"}, ["zhìcái"] = { "制裁", "製裁"}, ["zhícháng"] = { "直腸", "職場"}, ["zhìchéng"] = { "至誠", "製成"}, ["zhìcí"] = { "致詞", "致辭"}, ["zhídào"] = { "直到", "直道"}, ["zhìdìng"] = { "制定", "制訂"}, ["zhīfāng"] = { "汁方", "汁邡"}, ["zhìfú"] = { "制服", "至福"}, ["zhìfù"] = { "秩父", "致富"}, ["zhígēn"] = { "植根", "直根"}, ["zhígōng"] = { "執公", "職工"}, ["zhǐgǔ"] = { "指骨", "趾骨"}, ["zhìhǎo"] = { "治好", "至好"}, ["zhíjǐ"] = { "執戟", "直己"}, ["zhìjí"] = { "至急", "至極"}, ["zhìjì"] = { "致祭", "製劑"}, ["zhǐjiǎ"] = { "指甲", "趾甲"}, ["zhǐjiào"] = { "只教", "指教"}, ["zhījié"] = { "支節", "枝節"}, ["zhījiě"] = { "支解", "肢解"}, ["zhíjié"] = { "直截", "直捷"}, ["zhǐjīn"] = { "只今", "紙巾"}, ["zhìlěng"] = { "致冷", "製冷"}, ["zhìlì"] = { "智利", "智力", "致力"}, ["zhílì"] = { "直立", "直隸"}, ["zhīliú"] = { "之流", "支流"}, ["zhìliú"] = { "志留", "滯留"}, ["zhìlòu"] = { "痔漏", "痔瘻"}, ["zhìluàn"] = { "治亂", "致亂"}, ["zhǐmíng"] = { "指名", "指明"}, ["zhìnéng"] = { "智能", "質能"}, ["zhínéng"] = { "職能", "質能"}, ["zhìpǔ"] = { "質樸", "質譜"}, ["zhìqì"] = { "志氣", "稚氣"}, ["zhīqián"] = { "之前", "支前"}, ["zhíqín"] = { "值勤", "執勤"}, ["zhírù"] = { "植入", "直入"}, ["zhǐshì"] = { "只是", "指事", "指示"}, ["zhíshì"] = { "執事", "直視"}, ["zhìshì"] = { "志士", "智士", "智識", "治世"}, ["zhìshí"] = { "智識", "蛭石"}, ["zhīshì"] = { "知事", "知識", "芝士"}, ["zhíshǒu"] = { "執手", "職守"}, ["zhíshù"] = { "植樹", "質數"}, ["zhìshuǐ"] = { "制水", "治水"}, ["zhìsǐ"] = { "治死", "至死", "致死"}, ["zhǐsù"] = { "指宿", "止宿"}, ["zhìsù"] = { "窒素", "質素"}, ["zhǐtóu"] = { "指頭", "趾頭"}, ["zhíwù"] = { "植物", "職務"}, ["zhīxiàn"] = { "支線", "知縣"}, ["zhǐxiè"] = { "止瀉", "紙屑"}, ["zhíxíng"] = { "執行", "直行"}, ["zhǐyā"] = { "指壓", "紙壓"}, ["zhǐyào"] = { "只要", "紙鷂"}, ["zhīyè"] = { "枝葉", "汁液"}, ["zhìyè"] = { "置業", "膣液"}, ["zhìyí"] = { "制宜", "置疑", "質疑"}, ["zhíyì"] = { "執意", "直譯"}, ["zhīyí"] = { "支移", "支頤"}, ["zhìyǒu"] = { "摯友", "至友"}, ["zhìyù"] = { "智育", "治癒"}, ["zhìyú"] = { "治愚", "至於"}, ["zhǐzài"] = { "只在", "旨在"}, ["zhìzhàng"] = { "智障", "滯漲"}, ["zhǐzhèng"] = { "指正", "指證"}, ["zhǐzhí"] = { "紙質", "脂質"}, ["zhǐzhì"] = { "紙質", "脂質"}, ["zhīzi"] = { "枝子", "梔子"}, ["zhōngbǎo"] = { "中保", "中飽"}, ["zhōngbiǎo"] = { "中表", "鐘錶"}, ["zhōngcháng"] = { "中場", "中常", "終場", "衷腸"}, ["zhōngchǎng"] = { "中場", "終場"}, ["zhōngchéng"] = { "中程", "忠誠"}, ["zhòngdàn"] = { "中彈", "重擔"}, ["zhòngdì"] = { "中的", "種地", "重地"}, ["zhōngdiǎn"] = { "中點", "終點", "鐘點"}, ["zhòngdú"] = { "中毒", "重讀"}, ["zhōnggǔ"] = { "中古", "鐘鼓"}, ["zhōngguóhuà"] = { "中國化", "中國畫", "中國話"}, ["zhōngjí"] = { "中級", "終極"}, ["zhōngjiān"] = { "中堅", "中間"}, ["zhòngjiàn"] = { "中箭", "重劍"}, ["zhōngjié"] = { "忠節", "終結"}, ["zhōnglì"] = { "中壢", "中立"}, ["zhònglì"] = { "重利", "重力"}, ["zhōngnián"] = { "中年", "終年"}, ["zhōngqíng"] = { "衷情", "鍾情"}, ["zhōngrì"] = { "中日", "終日"}, ["zhōngshān"] = { "中山", "鍾山"}, ["zhòngshāng"] = { "中傷", "重傷"}, ["zhōngshì"] = { "中世", "中式"}, ["zhōngshū"] = { "中書", "中樞"}, ["zhōngwèi"] = { "中位", "中尉", "中衛"}, ["zhōngxīn"] = { "中心", "忠心", "衷心"}, ["zhòngyì"] = { "中意", "眾議"}, ["zhōngyì"] = { "中譯", "忠義", "鍾意"}, ["zhòngyòng"] = { "中用", "重用"}, ["zhōngyóu"] = { "中油", "中游"}, ["zhōngyú"] = { "忠於", "終於"}, ["zhōngzhǐ"] = { "中指", "中止", "終止"}, ["zhǒngzǐ"] = { "冢子", "種子"}, ["zhòuwén"] = { "咒文", "皺紋", "籀文"}, ["zhòuyǔ"] = { "咒語", "驟雨"}, ["zhōuzhì"] = { "周至", "盩厔"}, ["zhuāncháng"] = { "專場", "專長"}, ["zhuāngjiǎ"] = { "裝假", "裝甲"}, ["zhuàngjiàn"] = { "壯健", "撞見"}, ["zhuāngōng"] = { "專供", "專攻"}, ["zhuāngshì"] = { "妝飾", "裝飾"}, ["zhuàngyǔ"] = { "壯語", "狀語"}, ["zhuāngyuán"] = { "庄原", "莊園"}, ["zhuàngzú"] = { "僮族", "壯族"}, ["zhuānjí"] = { "專輯", "專集"}, ["zhuānjiā"] = { "專家", "磚家"}, ["zhuānlì"] = { "專利", "專力"}, ["zhuānzhù"] = { "專注", "專著"}, ["zhùbō"] = { "筑波", "駐波"}, ["zhǔfàn"] = { "主犯", "煮飯"}, ["zhùfáng"] = { "住房", "駐防"}, ["zhǔfù"] = { "主婦", "囑咐"}, ["zhùhòu"] = { "佇候", "筑後"}, ["zhuīsù"] = { "追溯", "追訴"}, ["zhǔjiǎo"] = { "主腳", "主角"}, ["zhǔjué"] = { "主腳", "主角"}, ["zhùlì"] = { "佇立", "助力"}, ["zhūlù"] = { "朱鷺", "誅戮"}, ["zhùmíng"] = { "注明", "著名"}, ["zhuójiàn"] = { "卓見", "拙見", "灼見"}, ["zhuójiǔ"] = { "濁酒", "酌酒"}, ["zhūrú"] = { "侏儒", "諸如"}, ["zhūshā"] = { "朱砂", "誅殺"}, ["zhúshēng"] = { "竹升", "竹笙"}, ["zhùshì"] = { "助勢", "柱式", "注視", "注釋", "築室"}, ["zhùshǒu"] = { "住手", "助手", "駐守"}, ["zhútái"] = { "燭臺", "築臺"}, ["zhùwén"] = { "注文", "祝文"}, ["zhǔyè"] = { "主業", "主頁"}, ["zhǔyì"] = { "主意", "主義", "屬意"}, ["zhùyì"] = { "助益", "注意"}, ["zhǔyīn"] = { "主因", "主音"}, ["zhùyuàn"] = { "住院", "祝願"}, ["zhūzhōu"] = { "株洲", "珠洲"}, ["zhùzi"] = { "柱子", "箸子"}, ["zìbào"] = { "自報", "自爆"}, ["zīcái"] = { "資材", "資財"}, ["zìgě"] = { "自個", "自各"}, ["zìgěr"] = { "自個兒", "自各兒"}, ["zìgòng"] = { "自供", "自貢"}, ["zìhào"] = { "字號", "自號"}, ["zìjǐ"] = { "自己", "自給"}, ["zìjù"] = { "字句", "字據"}, ["zìjué"] = { "自決", "自絕", "自覺"}, ["zìlì"] = { "自力", "自立"}, ["zīlì"] = { "資力", "資歷"}, ["zìqiáng"] = { "自強", "自戕"}, ["zìrán"] = { "自然", "自燃"}, ["zìrèn"] = { "自任", "自認"}, ["zīshēng"] = { "孳生", "滋生"}, ["zīshì"] = { "姿勢", "滋事"}, ["zìshì"] = { "自恃", "自是"}, ["zìshù"] = { "字數", "自述"}, ["zìtǐ"] = { "字體", "自體"}, ["zǐwēi"] = { "紫微", "紫薇"}, ["zìwèi"] = { "自慰", "自衛"}, ["zìwèiduì"] = { "自慰隊", "自衛隊"}, ["zìxíng"] = { "字型", "字形", "自行"}, ["zǐyè"] = { "子夜", "子葉"}, ["zìyì"] = { "字義", "字譯", "恣意", "自縊"}, ["zìyuàn"] = { "自怨", "自願"}, ["zīzhí"] = { "姿質", "資質"}, ["zīzhì"] = { "姿質", "資質"}, ["zìzhì"] = { "自制", "自治", "自製"}, ["zìzhuàn"] = { "自傳", "自轉"}, ["zòngguān"] = { "綜觀", "縱觀"}, ["zǒnghuì"] = { "總匯", "總會"}, ["zǒnglǎn"] = { "總攬", "總覽"}, ["zōngzhèng"] = { "宗政", "宗正"}, ["zǒudào"] = { "走到", "走道"}, ["zǒudiào"] = { "走掉", "走調"}, ["zǒujìn"] = { "走近", "走進"}, ["zǔ'ānsuān"] = { "組氨酸", "組胺酸"}, ["zǔgé"] = { "組閣", "阻隔"}, ["zuìrén"] = { "罪人", "醉人"}, ["zuìxīn"] = { "最新", "醉心"}, ["zuìxíng"] = { "罪刑", "罪行"}, ["zǔjí"] = { "祖籍", "阻擊"}, ["zújì"] = { "足跡", "足蹟"}, ["zǔjiàn"] = { "組件", "組建"}, ["zūjiè"] = { "租借", "租界"}, ["zūnmìng"] = { "尊命", "遵命"}, ["zūnyán"] = { "尊嚴", "尊顏"}, ["zūnyì"] = { "尊意", "遵義"}, ["zuòbàn"] = { "作伴", "做伴"}, ["zuòchéng"] = { "作成", "做成"}, ["zuòchū"] = { "作出", "做出"}, ["zuòfǎ"] = { "作法", "做法"}, ["zuòfàn"] = { "作飯", "做飯"}, ["zuògōng"] = { "作供", "做工"}, ["zuògǔ"] = { "作古", "坐骨"}, ["zuòguān"] = { "作官", "做官"}, ["zuòhǎo"] = { "作好", "做好"}, ["zuòjiān"] = { "坐監", "座間"}, ["zuòkè"] = { "作客", "做客"}, ["zuòshì"] = { "作事", "作勢", "做事", "坐視"}, ["zuòshī"] = { "作詩", "坐失"}, ["zuòwéi"] = { "作為", "做為"}, ["zuòwèi"] = { "坐位", "座位"}, ["zuòxí"] = { "作息", "坐席", "座席"}, ["zuòxuéwèn"] = { "作學問", "做學問"}, ["zuòzhǔ"] = { "作主", "做主"}, } return export.

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Local export = {} export [ "aa1 pin3"] = { "雅片", "鴉片"} export [ "aa3 laai1 baa1 maa5"] = { "亞拉巴馬", "阿拉巴馬"} export [ "aa3 maa5"] = { "阿媽", "阿瑪", "阿馬"} export [ "aa3 tai3"] = { "啊嚏", "阿嚏"} export [ "aai1 jo1"] = { "哎唷", "哎喲"} export [ "aat3 wan6"] = { "押運", "押韻"} export [ "aat3 zai3"] = { "壓制", "壓製", "遏制"} export [ "am3 hap6"] = { "暗合", "暗盒"} export [ "am3 si6"] = { "暗事", "暗示"} export [ "am3 soeng1"] = { "暗傷", "暗箱"} export [ "baa1 baa1"] = { "巴巴", "爸爸", "粑粑"} export [ "baa1 baa1 laai1"] = { "巴巴拉", "芭芭拉"} export [ "baa1 zaat3"] = { "巴扎", "巴紮"} export [ "baa2 sau2"] = { "把守", "把手"} export [ "baai6 zoeng3"] = { "敗仗", "敗將"} export [ "baak6 baan1"] = { "白斑", "白班"} export [ "baak6 gam1"] = { "白金", "帛金"} export [ "baak6 joeng4"] = { "白楊", "白羊"} export [ "baak6 juk6"] = { "白玉", "白肉"} export [ "baak6 lou6"] = { "白露", "白鷺"} export [ "baak6 min6"] = { "白面", "白麵"} export [ "baak6 sik6"] = { "白蝕", "白食"} export [ "baak6 syut3"] = { "白說", "白雪"} export [ "baak6 zi2"] = { "白子", "白紙", "白芷"} export [ "baan1 ci3"] = { "班次", "頒賜"} export [ "baan1 han4"] = { "斑痕", "瘢痕"} export [ "baan1 laan4"] = { "斑斕", "斒斕"} export [ "baan1 zoeng2"] = { "班長", "頒獎"} export [ "baan2 bun2"] = { "坂本", "板本", "版本"} export [ "baan2 min6"] = { "板麵", "版面"} export [ "baan2 zi2"] = { "板子", "板紙"} export [ "baau1 ji1"] = { "包衣", "胞衣"} export [ "baau1 zi2"] = { "包子", "孢子"} export [ "baau3 guk1"] = { "爆穀", "爆菊"} export [ "baau3 lit6"] = { "爆烈", "爆裂"} export [ "bai3 sak1"] = { "蔽塞", "閉塞"} export [ "ban1 zau1"] = { "濱州", "賓舟", "賓州"} export [ "ban2 fu3"] = { "秉賦", "稟賦"} export [ "ban2 sing3"] = { "品性", "稟性"} export [ "bang1 cong4"] = { "繃床", "蹦床"} export [ "bat1 coeng4"] = { "不祥", "不詳"} export [ "bat1 daan1"] = { "不丹", "不單", "佈道"} export [ "bat1 daan1 zi2"] = { "不單只", "不單止"} export [ "bat1 fong4"] = { "不妨", "不防"} export [ "bat1 gon1"] = { "不乾", "不干"} export [ "bat1 gung1"] = { "不公", "不恭", "筆供"} export [ "bat1 jau5"] = { "不有", "筆友"} export [ "bat1 ji4"] = { "不宜", "不移"} export [ "bat1 leot6"] = { "篳篥", "觱栗", "觱篥"} export [ "bat1 seon3"] = { "不信", "不遜"} export [ "bat1 sik1"] = { "不惜", "不識", "不適"} export [ "bat1 syun3"] = { "不算", "筆算"} export [ "bat1 tung4"] = { "不同", "筆筒"} export [ "bat1 zeon2"] = { "不准", "不準"} export [ "bat1 zi1"] = { "不支", "不知"} export [ "bat1 zi2"] = { "不只", "不止"} export [ "bat1 zik6"] = { "不值", "筆直"} export [ "bat1 zuk1"] = { "不足", "筆觸"} export [ "bei1 ming4"] = { "悲鳴", "碑銘"} export [ "bei2 leon4"] = { "比鄰", "毗鄰"} export [ "bei2 sau2 waak6 goek3"] = { "比手劃腳", "比手畫腳"} export [ "bei6 fo3"] = { "備課", "備貨"} export [ "bei6 jim4"] = { "避嫌", "鼻炎"} export [ "bei6 jin1"] = { "鼻咽", "鼻煙"} export [ "beng6 cing4"] = { "病情", "病程"} export [ "beng6 jyun4"] = { "病原", "病員", "病源"} export [ "beng6 zing1"] = { "病徵", "病癥"} export [ "bik1 gan6"] = { "迫近", "逼近"} export [ "bin1 fuk1"] = { "蝙蝠", "邊幅"} export [ "bin1 jyun4"] = { "邊沿", "邊緣"} export [ "bin1 taat3"] = { "鞭撻", "鞭韃"} export [ "bin1 zi2"] = { "辮子", "鞭子"} export [ "bin3 din6 zaam6"] = { "變電", "變電站"} export [ "bin3 gaak3"] = { "變格", "變革"} export [ "bin6 sik1"] = { "辨析", "辨識"} export [ "bin6 zing3"] = { "辨證", "辯證", "辨正"} export [ "bing1 soeng1"] = { "冰箱", "冰霜"} export [ "bing2 hei3"] = { "屏棄", "屏氣", "摒棄"} export [ "bik1 zan1"] = { "逼真", "迫真"} export [ "bit1 leot6"] = { "觱栗", "觱篥"} export [ "bit1 seoi1"] = { "必需", "必須"} export [ "biu1 gou1"] = { "標高", "飆高"} export [ "biu1 hon6"] = { "標汗", "彪悍"} export [ "biu1 zi3"] = { "標緻", "標誌"} export [ "bo1 dou6"] = { "坡度", "坡道", "波導"} export [ "bo1 laan4"] = { "波瀾", "波蘭"} export [ "bong1 zi2"] = { "幫子", "梆子"} export [ "bou2 cyun4"] = { "保全", "保存"} export [ "bou2 joeng5"] = { "保養", "補養"} export [ "bou2 juk6"] = { "保育", "寶玉"} export [ "bou2 mat6"] = { "保密", "寶物"} export [ "bou2 mou5"] = { "保姆", "保母"} export [ "bou2 sau1"] = { "保修", "補修"} export [ "bou2 zing3"] = { "保證", "補正"} export [ "bou2 zo6"] = { "寶座", "補助"} export [ "bou3 dou6"] = { "佈道", "報導", "報道"} export [ "bou3 ging2"] = { "佈景", "報警"} export [ "bou3 gou3"] = { "佈告", "報告"} export [ "bou6 gwong1"] = { "暴光", "曝光"} export [ "bou6 jyu5"] = { "哺乳", "暴雨"} export [ "bou6 lei6"] = { "大智", "暴利", "暴吏"} export [ "bou6 sau2"] = { "捕手", "部首"} export [ "bui3 zi2"] = { "貝子", "輩子"} export [ "bui6 mau6"] = { "悖謬", "背謬"} export [ "buk6 lou6"] = { "暴露", "曝露"} export [ "bun2 zi2"] = { "本子", "本旨"} export [ "bun6 tou4"] = { "叛徒", "叛逃"} export [ "but6 mau6"] = { "悖謬", "背謬"} export [ "caa4 dim2"] = { "查點", "茶點"} export [ "caang3 gon1 tiu3 gou1"] = { "撐桿跳高", "撐竿跳高"} export [ "caat3 zi2"] = { "刷子", "擦子"} export [ "caau1 se2"] = { "抄寫", "鈔寫"} export [ "caau1 zaap6"] = { "剿襲", "抄襲"} export [ "caau2 gwai3 diu1"] = { "炒粿條", "炒貴刁"} export [ "cam4 si1"] = { "尋思", "沉思"} export [ "can1 muk6"] = { "瞋目", "親睦"} export [ "can3 sam1"] = { "稱心", "趁心"} export [ "cau1 seoi2"] = { "抽水", "秋水"} export [ "cau4 lou4"] = { "囚牢", "酬勞"} export [ "ce1 zoeng2"] = { "車掌", "車長"} export [ "ce4 dou6"] = { "斜度", "邪道"} export [ "ce4 lou6"] = { "斜路", "邪路"} export [ "cek3 dou6"] = { "尺度", "赤道"} export [ "cek3 zi2"] = { "尺子", "赤子"} export [ "ceoi2 tai3"] = { "取替", "取締"} export [ "ceoi4 zau1"] = { "徐州", "隨州"} export [ "ceoi4 zi2"] = { "廚子", "錘子"} export [ "ceoi4 zik6"] = { "除夕", "除籍"} export [ "ceon1 fan1"] = { "春分", "春昏"} export [ "ceon2 coi4"] = { "蠢才", "蠢材"} export [ "ceot1 gaa3"] = { "出價", "出嫁"} export [ "ceot1 si6"] = { "出事", "出示"} export [ "ceot1 sik1"] = { "出息", "出色"} export [ "ci1 hon3"] = { "痴漢", "痴看"} export [ "ci2 faat3"] = { "始發", "齒髮"} export [ "ci2 zi3"] = { "此致", "矢志"} export [ "ci3 zi2"] = { "廁紙", "次子"} export [ "ci4 coeng4"] = { "慈祥", "磁場"} export [ "ci4 daai2"] = { "磁帶", "臍帶"} export [ "ci4 daai3-2"] = { "磁帶", "臍帶"} export [ "ci4 jyun4"] = { "詞源", "辭源"} export [ "ci4 zou2"] = { "詞組", "辭藻", "遲早"} export [ "ci4 zung6"] = { "持重", "詞訟"} export [ "cin1 cau1"] = { "千秋", "韆鞦"} export [ "cin2 sik1"] = { "淺析", "淺色", "闡釋"} export [ "cin4 jiu2"] = { "纏擾", "纏繞"} export [ "cin4 tou4"] = { "前途", "錢途"} export [ "cing1 caa4"] = { "清查", "清茶"} export [ "cing1 ceoi3"] = { "清脆", "青翠"} export [ "cing1 faa3"] = { "氰化", "清化"} export [ "cing1 san4"] = { "清晨", "稱臣"} export [ "cing1 zing6"] = { "清淨", "清靜"} export [ "cing4 bou3"] = { "呈報", "情報"} export [ "cing4 ging2"] = { "情境", "情景"} export [ "cing4 sik1"] = { "情色", "程式"} export [ "cit3 ceoi4"] = { "切除", "撤除"} export [ "cit3 si1"] = { "切絲", "設施"} export [ "cit3 wun6"] = { "切換", "撤換"} export [ "co1 baan2"] = { "初版", "搓板"} export [ "co1 jing4"] = { "雛型", "雛形"} export [ "co4 jing4"] = { "雛型", "雛形"} export [ "coek3 gin3"] = { "卓見", "灼見"} export [ "coeng1 hau2"] = { "槍口", "窗口"} export [ "coeng1 kyut3"] = { "槍決", "猖獗"} export [ "coeng2 sau1"] = { "搶修", "搶收"} export [ "coeng4 gun2"] = { "場館", "腸管"} export [ "coeng4 mat6"] = { "詳密", "長襪"} export [ "coeng4 zi2"] = { "牆紙", "腸子"} export [ "coi2 fung1"] = { "採風", "采風"} export [ "coi2 sou3"] = { "彩塑", "彩數"} export [ "coi3 dak6"] = { "塞特", "賽特"} export [ "coi3 dak6 hyun2"] = { "塞特犬", "賽特犬"} export [ "coi3 pou2"] = { "菜脯", "菜譜"} export [ "coi4 fu3"] = { "才賦", "財富"} export [ "coi4 jyun4"] = { "裁員", "財源"} export [ "coi4 lik6"] = { "才力", "財力"} export [ "coi4 loeng4"] = { "裁量", "財糧"} export [ "cong1 wong4"] = { "倉皇", "蒼黃"} export [ "cong3 gin3"] = { "創建", "創見"} export [ "cong4 zi2"] = { "場子", "床笫"} export [ "cou1 sam1"] = { "操心", "粗心"} export [ "cou2 cung4"] = { "草叢", "草蟲"} export [ "cuk1 joeng5"] = { "畜養", "蓄養"} export [ "cuk1 saang1"] = { "畜牲", "畜生"} export [ "cuk1 sing4"] = { "促成", "速成"} export [ "cuk1 zik1"] = { "促織", "蓄積"} export [ "cung1 cung1"] = { "匆匆", "蔥蔥"} export [ "cung1 jung4"] = { "從容", "蓯蓉"} export [ "cung4 joeng4"] = { "重洋", "重陽"} export [ "cung4 loi4"] = { "從來", "重來"} export [ "cung4 ming4"] = { "松明", "重明"} export [ "cung4 san1"] = { "重新", "重申"} export [ "cung4 zi2"] = { "松子", "蟲子"} export [ "cyu5 bei6"] = { "儲備", "貯備"} export [ "cyu5 cong4"] = { "儲藏", "貯藏"} export [ "cyu5 cong4 sat1"] = { "儲藏室", "貯藏室"} export [ "cyu5 cyun4"] = { "儲存", "貯存"} export [ "cyu5 lei5"] = { "署理", "處理"} export [ "cyun2 dok6"] = { "忖度", "揣度"} export [ "cyun4 coeng4"] = { "全場", "全長"} export [ "cyun4 daan1"] = { "傳單", "存單"} export [ "cyun4 ging2"] = { "全境", "全景"} export [ "cyun4 jin4"] = { "傳言", "全然"} export [ "cyun4 kau4"] = { "傳球", "全球"} export [ "cyun4 man4"] = { "傳聞", "全文", "全民"} export [ "cyun4 sam1"] = { "全心", "存心"} export [ "cyun4 san1"] = { "全新", "全身"} export [ "cyun4 syu1"] = { "傳輸", "全書"} export [ "cyun4 zau1"] = { "全州", "泉州"} export [ "cyun4 zung6"] = { "傳誦", "傳頌"} export [ "daa2 cau1 fung1"] = { "打抽豐", "打秋風"} export [ "daa2 dou2"] = { "打倒", "打賭"} export [ "daa2 gung1"] = { "打工", "打恭", "打躬"} export [ "daai6 dou1"] = { "大刀", "大都"} export [ "daai6 dou6"] = { "大度", "大道"} export [ "daai6 fo2"] = { "大夥", "大火"} export [ "daai6 gong1"] = { "大江", "大綱"} export [ "daai6 gu1"] = { "大姑", "大家"} export [ "daai6 gun1"] = { "大官", "大觀"} export [ "daai6 gung1"] = { "大公", "大功"} export [ "daai6 hei3"] = { "大氣", "大器", "大戲"} export [ "daai6 jan4"] = { "大人", "大仁"} export [ "daai6 ji4 zi2"] = { "大兒子", "大姨子"} export [ "daai6 ji6"] = { "大二", "大義"} export [ "daai6 jyu5"] = { "大禹", "大語", "大雨"} export [ "daai6 paai4 dong3"] = { "大排檔", "大牌檔"} export [ "daai6 si3"] = { "大使", "大肆"} export [ "daai6 sing3"] = { "大勝", "大聖"} export [ "daai6 wong4"] = { "大王", "大黃"} export [ "daai6 zi3"] = { "大志", "大智", "大致"} export [ "daam1 tin1 mong6 dei6"] = { "眈天望地", "耽天望地"} export [ "daam6 bok6"] = { "淡泊", "淡薄"} export [ "daan1 duk6"] = { "丹毒", "單獨"} export [ "daan1 geoi3"] = { "單句", "單據"} export [ "daan1 sam1"] = { "丹參", "丹心"} export [ "daan6-2 hok3"] = { "彈殼", "蛋殼"} export [ "dai6 gaau1"] = { "締交", "遞交"} export [ "dak1 si6-2"] = { "得士", "德士"} export [ "dak1 sing3"] = { "得勝", "德性"} export [ "dang1 gei1"] = { "分期", "登基", "登機"} export [ "dang1 luk6"] = { "登錄", "登陸"} export [ "dang3 zi2"] = { "凳子", "鐙子"} export [ "dau3 zi3"] = { "鬥志", "鬥智"} export [ "dau6 bok1"] = { "豆卜", "豆撲", "豆泡"} export [ "dau6 miu4"] = { "痘苗", "豆苗"} export [ "dau6 pok1"] = { "豆撲", "豆泡"} export [ "dei6 bou6"] = { "地埗", "地步"} export [ "dei6 dung6"] = { "地動", "地洞"} export [ "deng6 fo3"] = { "定貨", "訂貨"} export [ "deoi3 fu6"] = { "兌付", "對付"} export [ "deoi3 jik6"] = { "對奕", "對譯"} export [ "deoi3 wun6"] = { "兌換", "對換"} export [ "deoi3 zing3"] = { "對症", "對證"} export [ "deoi3 zoeng6"] = { "對仗", "對象"} export [ "din6 ci4"] = { "電池", "電磁"} export [ "din6 gei1"] = { "奠基", "電機"} export [ "din6 gon1"] = { "電杆", "電桿"} export [ "din6 haa6"] = { "奠下", "殿下"} export [ "din6 hei3"] = { "電器", "電氣"} export [ "din6 jau4"] = { "電油", "電郵"} export [ "din6 seon3"] = { "電信", "電訊"} export [ "din6 sin3"] = { "電扇", "電線"} export [ "din6 sin3 gon1"] = { "電線杆", "電線桿"} export [ "ding1 dong1"] = { "丁當", "叮噹"} export [ "ding2 fung1"] = { "頂峰", "頂風"} export [ "dip6 hyut3"] = { "啑血", "喋血"} export [ "doi6 gaa3"] = { "代價", "代駕"} export [ "dong2 jyu5"] = { "擋雨", "黨羽"} export [ "dou2 zeoi6"] = { "倒敘", "島嶼"} export [ "dou6 ci4"] = { "悼詞", "悼辭"} export [ "dou6 gwo3"] = { "度過", "渡過"} export [ "dou6 maa5"] = { "杜馬", "盜馬"} export [ "dou6 si1"] = { "導師", "杜詩"} export [ "duk6 mat6"] = { "毒物", "讀物"} export [ "duk6 sou3"] = { "毒素", "讀數"} export [ "dung1 gaa1"] = { "東加", "東家"} export [ "dung1 ging1"] = { "東京", "東經"} export [ "dung1 gwaa1"] = { "冬瓜", "東瓜"} export [ "dyun2 seon3"] = { "短信", "短訊"} export [ "dyun6 jin4"] = { "斷然", "斷言"} export [ "dyun6 zi2"] = { "段子", "緞子"} export [ "faa1 gyun2"] = { "花卷", "花捲"} export [ "faa1 sik1"] = { "花式", "花色"} export [ "faa1 ziu1"] = { "花招", "花椒"} export [ "faa3 zong1"] = { "化妝", "化裝"} export [ "faa3 zong1 sat1"] = { "化妝室", "化裝室"} export [ "faan1 gung1"] = { "翻供", "返工"} export [ "faan1 jyut6"] = { "翻越", "翻閱"} export [ "faan1 san1"] = { "翻新", "翻身"} export [ "faan2 gwok3"] = { "反國", "返國"} export [ "faan4 jan4"] = { "凡人", "煩人"} export [ "faan4 si6"] = { "凡事", "凡是", "繁峙"} export [ "faan4 so2"] = { "煩瑣", "繁瑣"} export [ "faan6 lai6"] = { "凡例", "範例"} export [ "faan6 man4"] = { "梵文", "範文"} export [ "faat3 coeng4"] = { "法場", "發祥"} export [ "faat3 fan5"] = { "發奮", "發憤"} export [ "faat3 gaa1"] = { "法家", "發家"} export [ "faat3 jan4"] = { "法人", "發人"} export [ "faat3 jan4 sam1 sing2"] = { "發人深省", "發人深醒"} export [ "faat3 ji1"] = { "法衣", "法醫"} export [ "faat3 ling6"] = { "法令", "發愣"} export [ "faat3 long4"] = { "法郎", "琺瑯", "髮廊"} export [ "faat3 ming4"] = { "法名", "發明"} export [ "faat3 zi2"] = { "法子", "髮指"} export [ "fai1 gwan1"] = { "揮軍", "麾軍"} export [ "fai3 hei3"] = { "廢棄", "廢氣"} export [ "fai3 zi2"] = { "廢止", "廢紙"} export [ "fan1 bin6"] = { "分辨", "分辯"} export [ "fan1 juk6"] = { "燻肉", "獯鬻"} export [ "fan1 kei4"] = { "分期", "分歧", "婚期"} export [ "fan1 pui3"] = { "分配", "婚配"} export [ "fan1 wai4"] = { "分為", "氛圍"} export [ "fan1 zi1"] = { "分之", "分支", "分枝"} export [ "fan2 min6"] = { "粉面", "粉麵"} export [ "fan2 sik1"] = { "粉色", "粉飾"} export [ "fan5 nou6"] = { "奮怒", "憤怒"} export [ "fan6 zi2"] = { "份子", "分子"} export [ "fat6 mun4"] = { "佛門", "閥門"} export [ "fei1 jyu4-2"] = { "飛魚", "鯡魚"} export [ "fei1 leot6 ban1"] = { "菲律濱", "菲律賓"} export [ "fo2 bun6"] = { "伙伴", "火伴"} export [ "fo2 gei3"] = { "夥計", "夥記"} export [ "fo2 hei3"] = { "火器", "火氣"} export [ "fong1 caak3"] = { "方冊", "方策"} export [ "fong1 jin4"] = { "工力", "方言", "謊言"} export [ "fong1 jyun4"] = { "方圓", "荒原"} export [ "fong1 tong4"] = { "方糖", "荒唐"} export [ "fong2 fat1"] = { "彷彿", "恍惚"} export [ "fong2 zik1"] = { "紡織", "紡績"} export [ "fong3 hei3"] = { "放棄", "放氣"} export [ "fong4 zi2"] = { "房子", "防止"} export [ "fu1 fu1"] = { "呼呼", "夫夫"} export [ "fu2 hau2"] = { "苦口", "虎口"} export [ "fu2 joeng5"] = { "俯仰", "撫養"} export [ "fu2 lin6"] = { "苦楝", "苦練"} export [ "fu3 jip6"] = { "副業", "庫頁"} export [ "fu3 taai3"] = { "富態", "富泰"} export [ "fu4 ci4"] = { "扶持", "鳧茈"} export [ "fu6 joek3"] = { "負約", "赴約"} export [ "fu6 wui6"] = { "傅會", "附會"} export [ "fu6 zi2"] = { "父子", "附子"} export [ "fuk1 dei6"] = { "福地", "腹地"} export [ "fuk1 lei6"] = { "福利", "複利"} export [ "fuk1 sing3"] = { "複姓", "覆姓"} export [ "fuk1 zaap6"] = { "複習", "複雜"} export [ "fuk6 faat3"] = { "伏法", "復發"} export [ "fuk6 jyun4"] = { "復原", "復員"} export [ "fuk6 si6"] = { "服事", "服侍"} export [ "fun1 coeng3"] = { "寬暢", "歡暢"} export [ "fun1 sam1"] = { "寬心", "歡心"} export [ "fung1 diu6"] = { "瘋掉", "風調"} export [ "fung1 dou6"] = { "豐度", "風度"} export [ "fung1 fo2"] = { "烽火", "風火"} export [ "fung1 hau2"] = { "封口", "風口"} export [ "fung1 hau6"] = { "封后", "蜂后"} export [ "fung1 jyu5"] = { "豐乳", "風雨"} export [ "fung1 jyut6"] = { "風月", "風穴"} export [ "fung1 mat6"] = { "蜂蜜", "風物"} export [ "fung1 mei5"] = { "豐美", "風靡"} export [ "fung1 san4"] = { "封臣", "風神"} export [ "fung1 soeng1"] = { "蜂箱", "風箱", "風霜"} export [ "fung1 tiu4"] = { "封條", "風調"} export [ "fung1 tong4"] = { "楓糖", "蜂糖"} export [ "fung1 wan6"] = { "丰韻", "風韻"} export [ "fung1 zi1"] = { "豐姿", "風姿"} export [ "gaa1 cuk1"] = { "加速", "家畜"} export [ "gaa1 faat3"] = { "加法", "家法"} export [ "gaa1 min5"] = { "加冕", "嘉勉"} export [ "gaa1 naap6"] = { "加納", "迦納"} export [ "gaa1 saa1"] = { "加沙", "袈裟"} export [ "gaa1 zoeng2"] = { "嘉獎", "家長"} export [ "gaa3 lei1"] = { "咖哩", "咖喱"} export [ "gaa3 lei1 fan2"] = { "咖哩粉", "咖喱粉"} export [ "gaa4 lou2"] = { "㗎佬", "架佬"} export [ "gaai1 ging2"] = { "佳境", "街景"} export [ "gaai2 duk6"] = { "解毒", "解讀"} export [ "gaai2 gau3"] = { "解救", "解構"} export [ "gaai2 sik1"] = { "解析", "解釋"} export [ "gaai3 min6-2"] = { "介面", "界面"} export [ "gaai3 zi2"] = { "介子", "戒指", "界址"} export [ "gaak3 lei4"] = { "隔籬", "隔離"} export [ "gaak3 mok6-2"] = { "膈膜", "隔膜"} export [ "gaam2 siu2"] = { "減小", "減少"} export [ "gaan1 him2"] = { "奸險", "艱險"} export [ "gaan2 faa3"] = { "簡化", "鹼化"} export [ "gaap3 baan2"] = { "夾板", "甲板"} export [ "gaap3 zi2"] = { "夾子", "甲子", "鴿子"} export [ "gaau1 doi6"] = { "交代", "交待", "膠袋"} export [ "gaau1 jau4"] = { "交遊", "郊遊"} export [ "gaau1 zi2"] = { "膠子", "膠紙"} export [ "gaau2 wan4"] = { "攪勻", "攪渾"} export [ "gaau3 mou5"] = { "教母", "酵母"} export [ "gaau3 zing3"] = { "教正", "校正"} export [ "gam1 gwat1"] = { "柑橘", "金橘"} export [ "gam1 on1 syun1"] = { "甘氨酸", "甘胺酸"} export [ "gam1 sik1"] = { "今昔", "金色"} export [ "gam1 syu4"] = { "甘薯", "金薯"} export [ "gam3 zi2"] = { "禁指", "禁止"} export [ "gan1 ceoi4"] = { "根除", "跟隨"} export [ "gan2 gan2"] = { "僅僅", "緊緊"} export [ "gan6 si6"] = { "近侍", "近視"} export [ "gang1 san1"] = { "庚申", "更新"} export [ "gap1 cuk1"] = { "急促", "急速"} export [ "gau2 gau2"] = { "久久", "赳赳"} export [ "gei1 coeng4"] = { "機場", "飢腸"} export [ "gei1 gin3"] = { "基建", "肌腱"} export [ "gei1 lei5"] = { "機理", "肌理"} export [ "gei1 leot6-2"] = { "幾率", "機率"} export [ "gei1 sou3"] = { "基數", "奇數"} export [ "gei1 tai2"] = { "機體", "肌體"} export [ "geoi2 dung6"] = { "舉動", "齲洞"} export [ "geoi3 dim2"] = { "句點", "據點"} export [ "geoi3 zi2"] = { "句子", "鋸子"} export [ "geoi6 luk6-2"] = { "巨鹿", "鉅鹿"} export [ "geoi6 mou4 baa3"] = { "巨毋霸", "巨無霸"} export [ "gik1 faat3"] = { "擊發", "激發"} export [ "gik1 fan5"] = { "激奮", "激憤"} export [ "gin3 dak1"] = { "建德", "見得"} export [ "ging1 fong1"] = { "經方", "驚慌"} export [ "ging1 gwai3"] = { "矜貴", "驚悸"} export [ "ging1 kei4"] = { "經期", "驚奇"} export [ "ging1 sam1"] = { "經心", "驚心"} export [ "ging1 sau6"] = { "經受", "經售"} export [ "ging2 fong3"] = { "境況", "景況"} export [ "ging2 gaai3"] = { "境界", "警戒"} export [ "ging2 gun1"] = { "景觀", "警官"} export [ "ging2 keoi1"] = { "景區", "警區"} export [ "ging2 si6"] = { "警示", "竟是"} export [ "ging3 ci4"] = { "敬詞", "敬辭"} export [ "git3 sing4"] = { "結成", "結繩"} export [ "giu1 hei3"] = { "嬌氣", "驕氣"} export [ "go1 sing1"] = { "歌星", "歌聲"} export [ "goeng1 wong4"] = { "姜黃", "薑黃"} export [ "goeng1 wut6"] = { "羌活", "薑活"} export [ "gok3 sik1"] = { "各色", "腳色", "角色"} export [ "gon1 faan6"] = { "乾飯", "干犯"} export [ "gong1 jiu3"] = { "剛要", "綱要"} export [ "gong1 lit6"] = { "剛烈", "肛裂"} export [ "gong1 mun4"] = { "江門", "肛門"} export [ "gong1 saan1"] = { "岡山", "江山"} export [ "gong2 gu2"] = { "港股", "講古"} export [ "gong2 toi4"] = { "港臺", "講臺"} export [ "gong2 ze2"] = { "港姐", "講者"} export [ "gou1 gaa3"] = { "高價", "高架"} export [ "gou1 joeng4"] = { "羔羊", "高陽"} export [ "gou1 jyun2"] = { "睪丸", "高院"} export [ "gou1 loeng4"] = { "膏粱", "高梁", "高樑", "高粱"} export [ "gou1 tong4"] = { "高唐", "高堂"} export [ "gou2 zi2"] = { "稿子", "稿紙"} export [ "gu1 fu6"] = { "姑父", "辜負"} export [ "gu2 gaa3"] = { "估價", "股價"} export [ "gu2 mou5"] = { "鈷鉧", "鼓舞"} export [ "gu2 waak6"] = { "蠱惑", "鼓惑"} export [ "gu3 gei6"] = { "故伎", "顧忌"} export [ "gu3 gung1"] = { "僱工", "故宮"} export [ "gu3 jau5"] = { "固有", "故友"} export [ "gu3 jyun4"] = { "僱員", "固原"} export [ "gun2 zi2"] = { "管子", "館子"} export [ "gun3 zyu3"] = { "灌注", "貫注"} export [ "gung1 bou3"] = { "公佈", "公報", "公布"} export [ "gung1 dak1"] = { "公德", "功德"} export [ "gung1 din6"] = { "供電", "宮殿"} export [ "gung1 dou6"] = { "公道", "弓道"} export [ "gung1 fan1"] = { "公分", "功勛", "工分"} export [ "gung1 fong4"] = { "公房", "攻防"} export [ "gung1 fu1"] = { "功夫", "工夫"} export [ "gung1 gaau1"] = { "公交", "工交"} export [ "gung1 gwaan1"] = { "公關", "攻關"} export [ "gung1 haau6"] = { "功效", "工效"} export [ "gung1 hak1"] = { "公克", "攻克"} export [ "gung1 jau5"] = { "公有", "工友"} export [ "gung1 jing4"] = { "公營", "宮刑"} export [ "gung1 jing6"] = { "供認", "公認"} export [ "gung1 jung6"] = { "供用", "公用", "功用"} export [ "gung1 jyu4"] = { "公餘", "工餘"} export [ "gung1 kei4"] = { "宮崎", "工期"} export [ "gung1 lei5"] = { "公理", "公里"} export [ "gung1 lik6"] = { "公曆", "功力", "工力"} export [ "gung1 man4"] = { "公文", "公民"} export [ "gung1 mou6"] = { "公務", "公墓"} export [ "gung1 si1"] = { "公司", "公私"} export [ "gung1 si6"] = { "公事", "公示", "工事"} export [ "gung1 soeng1"] = { "工傷", "工商", "過道"} export [ "gung1 wai4"] = { "宮闈", "恭維"} export [ "gung1 wui6-2"] = { "公會", "工會"} export [ "gung1 zik1"] = { "公積", "公職", "功績"} export [ "gung1 zing3"] = { "公正", "公證"} export [ "gung3 ban2"] = { "供品", "貢品"} export [ "gwaan1 ngoi6"] = { "關外", "關礙"} export [ "gwai1 suk1"] = { "歸宿", "龜縮"} export [ "gwai2 gai3"] = { "詭計", "鬼計"} export [ "gwan1 ji1"] = { "軍衣", "軍醫"} export [ "gwan1 lit6"] = { "皸裂", "龜裂"} export [ "gwan1 san4"] = { "君臣", "軍神"} export [ "gwan1 si6"] = { "軍事", "軍士"} export [ "gwat1 gaak3"] = { "骨格", "骨骼"} export [ "gwat1 pun4"] = { "骨盆", "骨盤"} export [ "gwat1 zi2"] = { "橘子", "骨子"} export [ "gwo3 dou6"] = { "過度", "過渡", "過道"} export [ "gwo3 lai4"] = { "過來", "過嚟"} export [ "gwo3 sai3"] = { "無色", "過世", "過細"} export [ "gwok3 dou6"] = { "國度", "國道"} export [ "gwok3 gwan1"] = { "國君", "國軍"} export [ "gwok3 seoi3"] = { "國稅", "國粹"} export [ "gwong1 cuk1"] = { "光束", "光速"} export [ "haa1 lo4-2"] = { "哈囉", "哈羅"} export [ "haa4 gwong1"] = { "狹小", "霞光"} export [ "haa6 gaa3"] = { "下嫁", "下架"} export [ "haa6 ling6"] = { "下令", "夏令"} export [ "haa6 mun4"] = { "下門", "廈門"} export [ "haai4 saap6 saap6"] = { "嚡澀澀", "嚡熠熠"} export [ "haai4 zi2"] = { "孩子", "鞋子"} export [ "haak3 jan4"] = { "嚇人", "客人"} export [ "haam4 sau6"] = { "函售", "函授"} export [ "haau1 daa2"] = { "拷打", "敲打"} export [ "hai6 ci4"] = { "係詞", "系詞"} export [ "hak1 fuk6"] = { "克復", "克服"} export [ "hang4 jing4"] = { "行刑", "行營"} export [ "hang4 saan1"] = { "恆山", "衡山"} export [ "hang4 sing1"] = { "恆星", "行星"} export [ "hap6 zi2"] = { "合子", "盒子"} export [ "hat6 zi2"] = { "核子", "瞎子"} export [ "hau4 zi2"] = { "猴子", "瘊子"} export [ "hau5 dou6"] = { "厚度", "厚道"} export [ "hau5 pok3"] = { "厚朴", "厚樸"} export [ "hau6 bou6"] = { "後步", "後部"} export [ "hau6 zo6"] = { "后座", "後座"} export [ "hei1 jau5"] = { "希有", "稀有"} export [ "hei1 kei4"] = { "希奇", "稀奇"} export [ "hei1 ling4"] = { "欺凌", "欺陵"} export [ "hei2 gaa3"] = { "起價", "起駕"} export [ "hei2 gam2"] = { "喜感", "豈敢"} export [ "hei2 si6"] = { "喜事", "豈是", "起事"} export [ "hei2 sik1"] = { "喜色", "起色"} export [ "hei2 zi2"] = { "豈止", "起止"} export [ "hei3 loeng6"] = { "器量", "氣量"} export [ "hei3 sai3"] = { "棄世", "氣勢"} export [ "hei3 sik1"] = { "器識", "憩息", "氣息", "氣色"} export [ "hei3 syun4"] = { "氣旋", "汽船"} export [ "heoi3 sai3"] = { "去世", "去勢"} export [ "him3 san1"] = { "欠伸", "欠身"} export [ "hin2 sing3"] = { "顯性", "顯聖"} export [ "hing1 faa3"] = { "氫化", "興化"} export [ "hip3 ji3"] = { "愜意", "歉意"} export [ "ho4 jyun4"] = { "河沿", "河源"} export [ "ho4 maa5"] = { "河馬", "荷馬"} export [ "hoi1 gung1"] = { "開工", "開弓"} export [ "hoi1 lo4"] = { "開羅", "開鑼"} export [ "hoi2 gwai1"] = { "海歸", "海龜"} export [ "hoi2 joeng4"] = { "海洋", "海陽"} export [ "hoi2 jyun4"] = { "海原", "海員"} export [ "hok6 haau6"] = { "學效", "學校"} export [ "hok6 lik6"] = { "學力", "學歷"} export [ "hon4 cam2"] = { "寒傖", "寒磣"} export [ "hon4 lau4"] = { "寒流", "韓流"} export [ "hon4 syun1"] = { "寒暄", "寒酸"} export [ "hong1 fuk6"] = { "匡復", "康復"} export [ "hong4 cing4"] = { "航程", "行情"} export [ "hong4 fuk6"] = { "降伏", "降服"} export [ "hou2 hon3"] = { "好漢", "好看"} export [ "hung1 bou6"] = { "凶暴", "胸部"} export [ "hung1 hei3"] = { "凶器", "空氣", "胸器"} export [ "hung1 hong1"] = { "空腔", "胸腔"} export [ "hung1 sau2"] = { "兇手", "空手"} export [ "hung1 tau4"] = { "空投", "空頭"} export [ "hung4 juk6"] = { "紅玉", "紅肉"} export [ "hung4 kei4"] = { "紅旗", "雄奇"} export [ "hung4 mou4"] = { "紅毛", "鴻毛"} export [ "hung4 sam1"] = { "紅心", "雄心"} export [ "hung4 tou4"] = { "紅桃", "雄圖"} export [ "hung4 zou2"] = { "紅棗", "紅藻"} export [ "jam1 duk6"] = { "陰毒", "音讀"} export [ "jam1 ging3"] = { "欽敬", "陰莖"} export [ "jam1 gung1"] = { "陰公", "陰功"} export [ "jam1 seon3"] = { "音信", "音訊"} export [ "jam4 fu5"] = { "妊婦", "淫婦"} export [ "jam4 jyu5"] = { "淫語", "淫雨"} export [ "jam4 san1"] = { "壬申", "妊娠"} export [ "jan1 jyun4"] = { "因緣", "姻緣"} export [ "jan1 si1"] = { "恩師", "恩施"} export [ "jan1 sou3"] = { "因數", "因素"} export [ "jan1 wai6"] = { "因為", "恩惠"} export [ "jan2 tung3"] = { "忍痛", "隱痛"} export [ "jan4 jyun4"] = { "人員", "人緣"} export [ "jan4 man4"] = { "人文", "人民"} export [ "jan4 sai3"] = { "人世", "人勢"} export [ "jan4 sam1"] = { "人參", "人心", "仁心"} export [ "jan4 san4"] = { "人神", "人臣"} export [ "jan4 si6"] = { "人事", "人士", "人氏"} export [ "jan5 dou6"] = { "引導", "引渡"} export [ "jap6 juk6"] = { "入浴", "入獄"} export [ "jap6 lai4"] = { "入來", "入嚟"} export [ "jap6 lei4"] = { "入來", "入嚟"} export [ "jap6 wai4"] = { "入圍", "入闈"} export [ "jap6 zik6"] = { "入席", "入籍"} export [ "jat1 bou6"] = { "一步", "一部"} export [ "jat1 dou6"] = { "一度", "一道"} export [ "jat1 jyun4"] = { "一元", "一員"} export [ "jat1 san1"] = { "一新", "一身"} export [ "jat6 ceot1"] = { "日出", "溢出"} export [ "jat6 jyun4"] = { "日元", "日圓"} export [ "jau1 ling4"] = { "丘陵", "幽靈"} export [ "jau1 ngaa5"] = { "優雅", "幽雅"} export [ "jau1 sam1"] = { "幽深", "憂心"} export [ "jau1 wui6"] = { "休會", "幽會"} export [ "jau4 gei3"] = { "遊記", "郵寄"} export [ "jau4 hei3"] = { "油氣", "遊憩", "遊戲"} export [ "jau4 jin4"] = { "柔然", "油然", "蚰蜒"} export [ "jau4 jyun5"] = { "悠遠", "柔軟"} export [ "jau4 leon4"] = { "油輪", "遊輪", "郵輪"} export [ "jau4 syun4"] = { "遊船", "郵船"} export [ "jau4 zi1"] = { "油脂", "郵資"} export [ "jau4 zik1"] = { "油漬", "油跡"} export [ "jau5 cing4"] = { "友情", "有情"} export [ "jau5 jan4"] = { "友人", "有人", "誘人"} export [ "jau5 jing4"] = { "有型", "有形"} export [ "jau5 jyu4"] = { "有如", "有餘"} export [ "jau5 paai4"] = { "有排", "有牌"} export [ "jau5 si4"] = { "有時", "酉時"} export [ "ji3 zi2"] = { "意旨", "懿旨"} export [ "ji4 biu2"] = { "儀表", "姨表"} export [ "ji4 gaa1"] = { "宜家", "而家"} export [ "ji4 geoi1"] = { "宜居", "移居"} export [ "ji4 hei3"] = { "儀器", "兒戲", "彝器"} export [ "ji4 jan4"] = { "夷人", "宜人", "怡人"} export [ "ji4 sik1"] = { "儀式", "兒媳"} export [ "ji5 hau6"] = { "以後", "爾後"} export [ "ji5 jyun4"] = { "洱源", "議員"} export [ "ji5 taai3"] = { "以太", "擬態"} export [ "ji5 wong5"] = { "以往", "已往"} export [ "ji5 zi3"] = { "以至", "以致"} export [ "ji5 zyu1"] = { "爾朱", "耳珠"} export [ "ji6 hing1"] = { "二兄", "義兄"} export [ "ji6 sam1"] = { "二心", "異心"} export [ "jik1 joeng4"] = { "抑揚", "益陽"} export [ "jim1 zim1"] = { "㤿憸", "腌臢"} export [ "jim4 gan2"] = { "嚴緊", "嚴謹"} export [ "jim4 wong4"] = { "炎黃", "閻王"} export [ "jim4 zing3"] = { "嚴正", "炎症"} export [ "jim6 si1"] = { "豔詩", "驗屍"} export [ "jin1 zi1"] = { "焉知", "胭脂"} export [ "jin2 bin3"] = { "演變", "衍變"} export [ "jin2 faa3"] = { "演化", "衍化"} export [ "jin4 ci4"] = { "延遲", "言詞"} export [ "jin4 hau6"] = { "延後", "然後"} export [ "jin4 wai6"] = { "賢惠", "賢慧"} export [ "jin5 bin3"] = { "演變", "衍變"} export [ "jin5 faa3"] = { "演化", "衍化"} export [ "jin6 gam1"] = { "現今", "現金"} export [ "jin6 zoi6"] = { "現在", "見在"} export [ "jing1 bong6"] = { "英磅", "英鎊"} export [ "jing1 daam3"] = { "英擔", "英石"} export [ "jing1 dak1"] = { "應得", "英德"} export [ "jing1 ming4"] = { "英名", "英明"} export [ "jing1 mou5"] = { "英武", "鸚鵡"} export [ "jing2 zoeng6"] = { "影像", "映像"} export [ "jing4 fo2"] = { "營火", "螢火"} export [ "jing4 fong4"] = { "刑房", "營房"} export [ "jing4 gwong1"] = { "熒光", "螢光"} export [ "jing4 lei6"] = { "營利", "盈利", "贏利"} export [ "jing4 mok6"] = { "熒幕", "螢幕"} export [ "jing4 san4"] = { "凝神", "迎神"} export [ "jing4 si1"] = { "凝思", "營私"} export [ "jing4 si6"] = { "凝視", "刑事"} export [ "jing4 zoeng6"] = { "形像", "形象"} export [ "jit6 zung1"] = { "熱中", "熱衷"} export [ "jiu1 mo1"] = { "妖魔", "幺麼"} export [ "joek3 mok6-2"] = { "約摸", "約莫"} export [ "joeng4 hei3"] = { "揚棄", "洋氣"} export [ "joeng4 kam4"] = { "揚琴", "洋琴"} export [ "joeng4 ming4"] = { "揚名", "陽明"} export [ "joeng4 tou4-2"] = { "楊桃", "洋桃", "羊桃", "陽桃"} export [ "joeng4 zong1"] = { "佯裝", "洋裝"} export [ "juk6 sat1"] = { "浴室", "獄室"} export [ "jung1 jung1"] = { "嗡嗡", "雝雝"} export [ "jung4 faa3"] = { "溶化", "熔化", "融化"} export [ "jung4 gaai2"] = { "溶解", "融解"} export [ "jung4 hap6"] = { "融合", "融洽"} export [ "jung4 jan4"] = { "傭人", "庸人", "用人"} export [ "jung4 jung4"] = { "熔融", "融融"} export [ "jung4 sing4"] = { "榕城", "融城"} export [ "jung4 wui6"] = { "融匯", "融會"} export [ "jung4 zi1"] = { "容姿", "融資"} export [ "jyu1 hyut3"] = { "淤血", "瘀血"} export [ "jyu4 ci2"] = { "如此", "餘矢"} export [ "jyu4 ci3"] = { "魚刺", "魚翅"} export [ "jyu4 faai3"] = { "愉快", "魚塊"} export [ "jyu4 gaa1"] = { "儒家", "漁家", "瑜伽"} export [ "jyu4 haa6"] = { "如下", "餘暇"} export [ "jyu4 jan4"] = { "愚人", "漁人"} export [ "jyu4 jip6"] = { "漁業", "餘孽"} export [ "jyu4 joeng4"] = { "揄揚", "漁陽"} export [ "jyu4 jyut6"] = { "愉悅", "逾越"} export [ "jyu4 kei4"] = { "如期", "逾期", "魚鰭"} export [ "jyu4 lam4"] = { "儒林", "榆林"} export [ "jyu4 lei6"] = { "漁利", "餘利"} export [ "jyu4 man4"] = { "愚民", "漁民"} export [ "jyu4 piu1"] = { "漁漂", "魚漂"} export [ "jyu4 sang1"] = { "餘下", "餘生"} export [ "jyu4 sou3"] = { "如數", "餘數"} export [ "jyu5 kei4"] = { "與其", "雨期"} export [ "jyu6 gin3"] = { "遇見", "預見"} export [ "jyu6 jin4"] = { "寓言", "預言"} export [ "jyu6 si6"] = { "遇事", "預示"} export [ "jyu6 zaap6"] = { "遇襲", "預習"} export [ "jyu6 zi1"] = { "預支", "預知"} export [ "jyun2 jin4"] = { "婉言", "宛然"} export [ "jyun4 bat1"] = { "完畢", "鉛筆"} export [ "jyun4 cyun4"] = { "完全", "源泉"} export [ "jyun4 fan1"] = { "元勛", "完婚"} export [ "jyun4 fan6"] = { "緣份", "緣分"} export [ "jyun4 hou6"] = { "元號", "圓號"} export [ "jyun4 jan4"] = { "完人", "猿人"} export [ "jyun4 jau4"] = { "原油", "緣由"} export [ "jyun4 jing4"] = { "原型", "原形", "圓形"} export [ "jyun4 jyun4"] = { "圓圓", "源源"} export [ "jyun4 kuk1"] = { "元曲", "原曲"} export [ "jyun4 luk1 luk1"] = { "圓碌碌", "圓轆轆"} export [ "jyun4 mun5"] = { "圓滿", "完滿"} export [ "jyun4 si6"] = { "原是", "完事"} export [ "jyun4 syu1"] = { "原書", "爰書"} export [ "jyun4 zi2"] = { "原址", "原子"} export [ "jyun4 zi6"] = { "源自", "鉛字"} export [ "jyun4 zik6"] = { "原籍", "鉛直"} export [ "jyun5 ngok6"] = { "軟顎", "軟齶"} export [ "jyun5 ngok6 jam1"] = { "軟顎音", "軟齶音"} export [ "jyut6 dung1"] = { "粵東", "越冬"} export [ "jyut6 gwai3"] = { "月季", "月桂"} export [ "jyut6 kap1"] = { "月給", "越級"} export [ "jyut6 kek6"] = { "粵劇", "越劇"} export [ "jyut6 lik6"] = { "月曆", "閱歷"} export [ "jyut6 sik1"] = { "月息", "月色"} export [ "jyut6 zi1"] = { "月支", "月氏"} export [ "kai2 si6"] = { "啟事", "啟示"} export [ "kap1 ceoi2"] = { "吸取", "汲取"} export [ "kap1 jyu5"] = { "給予", "給與"} export [ "kap1 lik6"] = { "吸力", "給力"} export [ "kau3 lau4"] = { "佝僂", "扣留"} export [ "kau4 ji1"] = { "求醫", "球衣"} export [ "kei4 ci3"] = { "其次", "旗幟"} export [ "kei4 gaan1"] = { "其間", "期間"} export [ "kei4 ji6"] = { "奇異", "歧異"} export [ "kei4 kau4"] = { "期求", "祈求"} export [ "kei4 mong6"] = { "期望", "祈望"} export [ "kei4 sau2"] = { "旗手", "棋手"} export [ "kei4 si6"] = { "棋士", "歧視"} export [ "kei4 zi2"] = { "旗子", "棋子"} export [ "keoi1 ceoi4"] = { "祛除", "驅除"} export [ "keoi1 lau4"] = { "佝僂", "拘留"} export [ "king4 king4"] = { "惸惸", "煢煢"} export [ "koeng4 dou6"] = { "強度", "強盜"} export [ "kong3 hon5"] = { "亢旱", "抗旱"} export [ "kui2 tou4"] = { "潰逃", "繪圖"} export [ "kyun4 seot6"] = { "拳術", "權術"} export [ "kyut3 coi3"] = { "決賽", "蕨菜"} export [ "kyut3 hau2"] = { "決口", "缺口"} export [ "laang5 min6"] = { "冷面", "冷麵"} export [ "laang5 zin3"] = { "冷戰", "冷箭"} export [ "laap6 zuk1"] = { "立足", "蠟燭"} export [ "lai6 hang4"] = { "例行", "厲行"} export [ "lai6 hoi6"] = { "利害", "厲害"} export [ "lam4 coeng4"] = { "林場", "臨場"} export [ "lam4 hoi2"] = { "林海", "臨海"} export [ "lau4 cing4"] = { "流程", "留情"} export [ "lau4 haa6"] = { "樓下", "流下", "留下"} export [ "lau4 jin4"] = { "流言", "留言"} export [ "lau4 lei4"] = { "流離", "琉璃"} export [ "lau4 lin4"] = { "榴槤", "流連"} export [ "lau4 ming4"] = { "流明", "留名"} export [ "lau4 mong4"] = { "流亡", "流氓"} export [ "lau4 sam1"] = { "琉森", "留心"} export [ "lau4 zi2"] = { "瘤子", "蔞子"} export [ "lau5 jam1"] = { "柳蔭", "柳陰"} export [ "lei4 zi2"] = { "梨子", "離子"} export [ "lei5 joek3"] = { "履約", "里約"} export [ "lei6 ngaa5 dak1"] = { "利雅得", "利雅德"} export [ "leoi4 kam4"] = { "擂琴", "雷琴"} export [ "leoi4 leoi4"] = { "累累", "纍纍"} export [ "leoi4 se6"] = { "鐳射", "雷射"} export [ "leoi4 sit3"] = { "縲絏", "纍紲"} export [ "leoi5 bin6"] = { "呂便", "裡便"} export [ "leoi6 zeoi6"] = { "累墜", "累贅"} export [ "leon4 lei5"] = { "倫理", "鄰里"} export [ "leon6 sik1"] = { "吝嗇", "吝惜"} export [ "li1 li1 lo4 lo4"] = { "哩哩囉囉", "哩哩羅羅"} export [ "lik6 zin3"] = { "力戰", "力薦"} export [ "lim4 zing3"] = { "廉政", "廉正"} export [ "lin4 lin4"] = { "漣漣", "連連"} export [ "lin4 pin1"] = { "連篇", "連翩"} export [ "lin4 zi2"] = { "蓮子", "鏈子"} export [ "lin4 zuk6"] = { "連濁", "連續"} export [ "ling4 cam2"] = { "陵寢", "靈寢"} export [ "ling4 lyun6"] = { "凌亂", "零亂"} export [ "ling4 wan4"] = { "凌雲", "靈魂"} export [ "lip6 gau2"] = { "獵狗", "鬣狗"} export [ "liu4 jyun4"] = { "燎原", "遼源"} export [ "liu4 liu4"] = { "寥寥", "聊聊", "遼遼"} export [ "lo1 pet1"] = { "囉噼", "籮噼"} export [ "lo4 maa5"] = { "羅馬", "騾馬"} export [ "lo4 mou5"] = { "羅姆", "螺母"} export [ "lo4 si1"] = { "羅斯", "螺絲", "螺螄"} export [ "loeng6 zi2"] = { "亮子", "量子"} export [ "loi4 sai3"] = { "來世", "來勢"} export [ "lok6 maa5"] = { "落馬", "駱馬"} export [ "lok6 mok6"] = { "落寞", "落幕"} export [ "long6 dong6"] = { "浪蕩", "莨菪"} export [ "lou4 zi2"] = { "爐子", "驢子"} export [ "lou5 faa3"] = { "老化", "鹵化"} export [ "lou5 go1"] = { "老哥", "老歌"} export [ "lou5 lou5"] = { "姥姥", "老老"} export [ "lou5 seoi2"] = { "滷水", "鹵水"} export [ "lou5 si6"] = { "老是", "老視"} export [ "lou6 min6"] = { "路面", "露面"} export [ "luk1 luk1"] = { "碌碌", "轆轆"} export [ "luk6 dei6"] = { "綠地", "陸地"} export [ "luk6 dou2"] = { "綠島", "鹿島", "鹿嶋"} export [ "luk6 lik6"] = { "勠力", "戮力"} export [ "lung4 tau4"] = { "籠頭", "龍頭"} export [ "lung4 zau1"] = { "龍州", "龍舟"} export [ "lung4 zi2"] = { "籠子", "聾子"} export [ "m4 zeon2"] = { "唔准", "唔準"} export [ "maa4 fung1 beng6"] = { "痲瘋病", "麻風病"} export [ "maa4 zoeng3"] = { "麻將", "麻醬"} export [ "maa5 ji5 taa1"] = { "馬爾他", "馬耳他"} export [ "maa5 ji5 taa1 jan4"] = { "馬爾他人", "馬耳他人"} export [ "maa5 lei6"] = { "瑪莉", "馬利"} export [ "maa5 lo4"] = { "馬鑼", "馬騾"} export [ "maa5 ngaa5"] = { "瑪雅", "馬雅"} export [ "maa5 tau4"] = { "碼頭", "馬頭"} export [ "maan6 jau4"] = { "漫游", "漫遊"} export [ "maan6 jung6"] = { "慢用", "萬用"} export [ "maan6 maa6"] = { "漫罵", "謾罵"} export [ "maan6 zoeng6"] = { "萬丈", "萬象"} export [ "maang5 zoeng3"] = { "猛將", "猛漲"} export [ "mak6 jin4"] = { "驀然", "默然"} export [ "mak6 mak6"] = { "脈脈", "默默"} export [ "mak6 zi2"] = { "麥子", "墨子"} export [ "man4 duk6"] = { "文牘", "文讀"} export [ "man4 faat3"] = { "文法", "民法"} export [ "man4 fo1"] = { "文科", "民科"} export [ "man4 fong4"] = { "民房", "民防"} export [ "man4 gaak3"] = { "文革", "民革"} export [ "man4 lei5"] = { "文理", "紋理"} export [ "man4 loi4"] = { "文萊", "汶萊"} export [ "man4 san1"] = { "文身", "紋身"} export [ "man4 si6"] = { "文士", "民事"} export [ "man4 syun2"] = { "文選", "民選"} export [ "man4 zoeng1"] = { "文章", "紋章"} export [ "man4 zuk6"] = { "民俗", "民族"} export [ "man4 zuk6 hok6"] = { "民俗學", "民族學"} export [ "mat6 fung1"] = { "密封", "蜜蜂"} export [ "mat6 gin6-2"] = { "密件", "物件"} export [ "mau4 si6"] = { "謀事", "謀士"} export [ "mei4 ci4"] = { "微詞", "微辭"} export [ "mei4 ngaan5"] = { "媚眼", "眉眼"} export [ "mei5 jyun4"] = { "美元", "美圓"} export [ "mei5 mei5"] = { "娓娓", "靡靡"} export [ "min5 jik6"] = { "免役", "免疫"} export [ "min6 gan1"] = { "面巾", "麵筋"} export [ "min6 pei4"] = { "面皮", "麵皮"} export [ "min6 si5"] = { "面市", "面試"} export [ "ming4 ci3"] = { "名刺", "名次"} export [ "ming4 cing1"] = { "名稱", "明清"} export [ "ming4 giu3"] = { "名叫", "鳴叫"} export [ "ming4 jin4"] = { "名言", "明言"} export [ "ming4 jyu6"] = { "名譽", "明喻"} export [ "ming4 man4"] = { "明文", "銘文"} export [ "ming4 muk6"] = { "明目", "瞑目"} export [ "ming4 sing1"] = { "名聲", "明星"} export [ "ming4 zi6"] = { "名字", "明治"} export [ "miu6 jyu5"] = { "妙語", "廟宇"} export [ "mok6 ming4 kei4 miu6"] = { "莫名其妙", "莫明其妙"} export [ "mong5 kau4"] = { "妄求", "網球"} export [ "mou4 baan2"] = { "模板", "模版"} export [ "mou4 bat1"] = { "毛筆", "無不"} export [ "mou4 cou3"] = { "毛糙", "毛躁"} export [ "mou4 cung4"] = { "毛蟲", "無從"} export [ "mou4 faat3"] = { "毛髮", "無法"} export [ "mou4 ji4"] = { "模擬", "無疑"} export [ "mou4 jing4"] = { "模型", "模形", "無形"} export [ "mou4 laa1 laa1"] = { "無啦啦", "無喇喇"} export [ "mou4 ming4"] = { "無名", "無明"} export [ "mou4 san4"] = { "巫神", "無神"} export [ "mou4 seoi1"] = { "毋須", "無需", "無須"} export [ "mou4 si1"] = { "巫師", "無私"} export [ "mou4 si6"] = { "無事", "無視"} export [ "mou4 sik1"] = { "模式", "無息", "無色"} export [ "mou4 sin3"] = { "毛線", "無線"} export [ "mou4 soeng4"] = { "無償", "無常"} export [ "mou4 zi2"] = { "模子", "毛子"} export [ "mou5 dou6"] = { "武道", "舞蹈"} export [ "mou5 jyu5"] = { "母乳", "母語"} export [ "mou5 si6"] = { "冇事", "武士", "獅虎"} export [ "mou5 zi2"] = { "拇指", "母子"} export [ "mou6 hei3"] = { "暮氣", "霧氣"} export [ "mou6 jyun4"] = { "墓園", "戊烷"} export [ "mui4 coi3"] = { "梅菜", "霉菜"} export [ "mui4 hei3"] = { "煤氣", "霉氣"} export [ "muk6 baan2"] = { "木板", "木版"} export [ "mung4 lung4"] = { "朦朧", "矇矓"} export [ "mut3 saat3"] = { "抹殺", "抹煞"} export [ "mut6 hung1"] = { "抹胸", "沒空"} export [ "mut6 sai3"] = { "末世", "沒世"} export [ "naa5 ci3"] = { "哪次", "那次"} export [ "naa5 go3"] = { "哪個", "那個"} export [ "naa5 ji4"] = { "哪兒", "那兒"} export [ "naa5 joeng6"] = { "哪樣", "那樣"} export [ "naa5 leoi5"] = { "哪裡", "那裡"} export [ "naa5 se1"] = { "哪些", "那些"} export [ "naam4 coeng1"] = { "南昌", "男娼"} export [ "naam4 fong1"] = { "南方", "男方"} export [ "naam4 jan4"] = { "南人", "男人"} export [ "naam4 joeng4"] = { "南洋", "南陽"} export [ "naam4 naam4"] = { "喃喃", "囡囡"} export [ "naam4 sik1"] = { "男式", "男色"} export [ "naan4 dou6"] = { "難度", "難道"} export [ "naap6 seoi3"] = { "納稅", "納粹"} export [ "nei5 hou2"] = { "你好", "您好"} export [ "nei5 mun4"] = { "你們", "妳們", "您們", "祢們"} export [ "neoi5 sik1"] = { "女式", "女色"} export [ "neoi5 wong4"] = { "女王", "女皇"} export [ "neoi5-4 neoi5-2"] = { "囡囡", "女女"} export [ "ng5 baa3"] = { "五伯", "五霸"} export [ "ngaa4 baan1"] = { "牙斑", "牙班"} export [ "ngaai4 ngon6"] = { "崖岸", "涯岸"} export [ "ngaam4 sek6"] = { "岩石", "巖石"} export [ "ngaan5 lim4"] = { "眼瞼", "眼簾"} export [ "ngai6 gei6"] = { "藝伎", "藝妓"} export [ "ngan4 jyun4"] = { "銀元", "銀圓"} export [ "ngan4 zi2"] = { "銀子", "銀紙"} export [ "ngo4 jyu5"] = { "俄語", "俄雨"} export [ "ngoi6 si6"] = { "外事", "礙事"} export [ "ngoi6 soeng1"] = { "外傷", "外商"} export [ "nim1 tou2"] = { "粘土", "黏土"} export [ "nim4 tip3"] = { "粘貼", "黏貼"} export [ "nim4 zoek6"] = { "粘著", "黏著"} export [ "nin4 zung1"] = { "年中", "年終"} export [ "noi6 sam1"] = { "內心", "耐心"} export [ "nou5 lik6"] = { "努力", "腦力"} export [ "nung4 mou6"] = { "濃霧", "農務"} export [ "oi1 hou4"] = { "哀嚎", "哀號"} export [ "oi1 ming4"] = { "哀憐", "哀鳴"} export [ "oi3 sek3"] = { "愛惜", "愛錫"} export [ "oi3 zi1"] = { "愛滋", "愛知"} export [ "ok3 sam1"] = { "噁心", "惡心"} export [ "on1 gei1"] = { "氨基", "胺基"} export [ "on1 gei1 jyut3 syun1"] = { "氨基乙酸", "胺基乙酸"} export [ "on1 gei1 jyut6 syun1"] = { "氨基乙酸", "胺基乙酸"} export [ "on1 gei1 syun1"] = { "氨基酸", "胺基酸"} export [ "on1 hong1"] = { "安康", "鮟鱇"} export [ "on1 saan1"] = { "安山", "鞍山"} export [ "on1 sik1"] = { "安息", "安適"} export [ "on1 syun1"] = { "氨酸", "胺酸"} export [ "on1 zing6"] = { "安靖", "安靜"} export [ "on3 jyu5"] = { "按語", "案語"} export [ "on3 lai6"] = { "按例", "案例"} export [ "ou3 mun4-2 jyun4"] = { "澳門元", "澳門圓"} export [ "ou3 si1 ting1"] = { "奧斯丁", "奧斯汀"} export [ "paai4 hei3"] = { "排戲", "排氣"} export [ "paak3 si1"] = { "佩斯", "柏斯", "珀斯"} export [ "paan1 wun4"] = { "攀援", "攀緣"} export [ "paau3 zai3"] = { "泡製", "炮製"} export [ "pan4 dou6"] = { "貧道", "頻道"} export [ "pei4 gaap3"] = { "皮夾", "皮革"} export [ "pei4 paa4"] = { "枇杷", "琵琶"} export [ "pin1 fuk1"] = { "篇幅", "蝙蝠"} export [ "pin1 muk6"] = { "篇目", "編目"} export [ "pin1 pin1"] = { "偏偏", "翩翩"} export [ "pin1 si1"] = { "偏師", "偏私"} export [ "pin1 taan2"] = { "偏癱", "偏袒"} export [ "pin1 zai3"] = { "編制", "編製"} export [ "pin3 dyun6"] = { "片斷", "片段"} export [ "ping4 ding6"] = { "平定", "評定"} export [ "ping4 fan1"] = { "平分", "評分"} export [ "ping4 gaa3"] = { "平價", "評價"} export [ "ping4 hang4"] = { "平行", "平衡"} export [ "ping4 kek6"] = { "平劇", "評劇"} export [ "ping4 man4"] = { "平民", "駢文"} export [ "piu1 fat1"] = { "飄忽", "飄拂"} export [ "piu1 fau4"] = { "漂浮", "飄浮"} export [ "pui3 gok3"] = { "配腳", "配角"} export [ "pui4 zeoi6"] = { "賠罪", "陪罪"} export [ "saa1 laai1"] = { "沙拉", "莎拉"} export [ "saa1 lung4"] = { "沙龍", "紗籠"} export [ "saa1 zau1"] = { "沙州", "沙洲"} export [ "saa1 zi2"] = { "沙子", "砂紙"} export [ "saa1-3 de1"] = { "沙嗲", "沙爹"} export [ "saam1 wai4"] = { "三圍", "三維"} export [ "saan1 cyun1"] = { "山川", "山村"} export [ "saan1 fung1"] = { "山峰", "山風"} export [ "saan1 joeng4"] = { "山羊", "山陽"} export [ "saan1 wu4 ziu1"] = { "山胡椒", "珊瑚礁"} export [ "saang1 juk6"] = { "生肉", "生育"} export [ "saat3 hei3"] = { "撒氣", "殺氣"} export [ "saat3 naa5"] = { "剎那", "薩那"} export [ "saat3 sau2"] = { "撒手", "殺手"} export [ "sai1 ging1"] = { "西京", "西經"} export [ "sai1 ngok6"] = { "西嶽", "西樂", "西鄂"} export [ "sai1 sai1"] = { "栖栖", "西西"} export [ "sai1 zeon3"] = { "西晉", "西進"} export [ "sai1 zi2"] = { "篩子", "西紙"} export [ "sai2 cin2"] = { "洗錢", "使錢"} export [ "sai3 zuk6"] = { "世俗", "世族"} export [ "sam1 cing4"] = { "心情", "深情"} export [ "sam1 coeng4"] = { "心腸", "深長"} export [ "sam1 gaang1"] = { "深更", "深耕"} export [ "sam1 gei1"] = { "心機", "心肌"} export [ "sam1 ji1"] = { "心衣", "深衣"} export [ "sam1 ji4"] = { "心儀", "心疑"} export [ "sam1 jim4"] = { "森嚴", "森蚺"} export [ "sam1 jyun5"] = { "心軟", "深遠"} export [ "sam1 ngoi3"] = { "心愛", "深愛"} export [ "sam1 si1"] = { "心思", "深思"} export [ "sam1 sing2"] = { "深省", "深醒"} export [ "sam1 zi3"] = { "心志", "心智"} export [ "san1 baan2"] = { "身板", "鋅版"} export [ "san1 bou3"] = { "申報", "辛布"} export [ "san1 ciu4"] = { "新朝", "新潮"} export [ "san1 coeng4"] = { "伸長", "身長"} export [ "san1 fan6-2"] = { "身份", "身分"} export [ "san1 gaau3"] = { "新教", "身教"} export [ "san1 geoi1"] = { "故居", "新居"} export [ "san1 jing4"] = { "新型", "身形"} export [ "san1 keoi1"] = { "新區", "身軀"} export [ "san1 man4"] = { "新聞", "申文"} export [ "san1 sau2"] = { "新手", "身手"} export [ "san1 syu1"] = { "新書", "神荼"} export [ "san4 gwong1"] = { "晨光", "辰光"} export [ "san4 hei3"] = { "神器", "神氣"} export [ "san4 kei4"] = { "神奇", "神祇"} export [ "san4 kuk1"] = { "神曲", "神麴"} export [ "san4 zi3"] = { "神志", "神智"} export [ "sang1 sik1"] = { "生息", "生色"} export [ "sap1 nap6 nap6"] = { "濕𣲷𣲷", "濕納納"} export [ "sat1 diu6"] = { "失掉", "失調"} export [ "sat1 sau2"] = { "失守", "失手"} export [ "sat6 si6"] = { "實事", "實是"} export [ "sau1 fuk6"] = { "修復", "收復", "收服"} export [ "sau1 joeng5"] = { "修養", "收養"} export [ "sau1 zaap6"] = { "收集", "蒐集"} export [ "sau1 zing3"] = { "修正", "蒐證"} export [ "sau2 faat3"] = { "守法", "手法"} export [ "sau2 gung1"] = { "守宮", "手工", "首功"} export [ "sau2 jip6"] = { "守業", "首頁"} export [ "sau2 sai3"] = { "守勢", "手勢"} export [ "sau2 seon3"] = { "守信", "手信"} export [ "sau2 soeng3"] = { "手相", "首相"} export [ "sau2 zi2"] = { "手指", "手紙"} export [ "sau2 zoeng2"] = { "手掌", "首長"} export [ "sau2 zuk6"] = { "手續", "手鐲"} export [ "sau3 juk6"] = { "獸慾", "瘦肉"} export [ "sau6 fo3"] = { "售貨", "授課"} export [ "sau6 jyu5"] = { "授乳", "授予"} export [ "sau6 kyun4"] = { "受權", "授權"} export [ "sau6 ming6"] = { "壽命", "授命"} export [ "sau6 zoeng2"] = { "受獎", "授獎"} export [ "se3 lei6"] = { "猞猁", "舍利"} export [ "se3 zong1"] = { "卸妝", "卸裝"} export [ "sek6 min4"] = { "石棉", "石綿"} export [ "sek6 zoeng6"] = { "石像", "石匠"} export [ "seoi2 dou6"] = { "水稻", "水道"} export [ "seoi2 hei3"] = { "水氣", "水汽"} export [ "seoi2 paau3"] = { "水泡", "水炮", "水疱"} export [ "seoi2 ping4"] = { "水平", "水瓶"} export [ "seon3 hou6"] = { "信號", "訊號"} export [ "seon3 sau2"] = { "信守", "信手"} export [ "seon3 sik1"] = { "信息", "瞬息", "訊息", "遜色"} export [ "seon4 faa3"] = { "純化", "馴化"} export [ "seon4 hau5"] = { "淳厚", "醇厚"} export [ "seon4 sou3"] = { "純數", "純素"} export [ "seon4 suk6"] = { "純屬", "純熟"} export [ "si1 daa2"] = { "廝打", "絲打"} export [ "si1 dai6"] = { "司隸", "師弟"} export [ "si1 faat3"] = { "司法", "師法", "私法"} export [ "si1 fu2"] = { "師傅", "師父", "獅虎"} export [ "si1 fu6-2"] = { "師傅", "師父"} export [ "si1 gaa1"] = { "思家", "施事", "施加", "私家"} export [ "si1 gung1"] = { "師公", "施工"} export [ "si1 jan4"] = { "私人", "詩人"} export [ "si1 lou6"] = { "思路", "絲路"} export [ "si1 mat6"] = { "私密", "絲襪"} export [ "si1 nim6"] = { "思念", "私念"} export [ "si1 sang1"] = { "師生", "私生"} export [ "si1 sau2"] = { "屍首", "廝守"} export [ "si1 sau4"] = { "私仇", "私讎"} export [ "si1 si1"] = { "偲偲", "絲絲"} export [ "si1 si6"] = { "司事", "施事", "私事"} export [ "si1 tou4"] = { "司徒", "師徒"} export [ "si3 gun2"] = { "使館", "試管"} export [ "si3 hang4"] = { "肆行", "試行"} export [ "si3 sik6"] = { "嗜食", "蟶子", "試食"} export [ "si3 tou4"] = { "使徒", "試圖"} export [ "si4 ji4"] = { "時宜", "時而"} export [ "si4 sai3"] = { "時世", "時勢"} export [ "si4 san1"] = { "時新", "時薪"} export [ "si6 fung6"] = { "事奉", "侍奉"} export [ "si6 gok3"] = { "視覺", "視角"} export [ "si6 hau6"] = { "事後", "伺候", "侍候"} export [ "si6 ji4"] = { "事兒", "事宜"} export [ "si6 lai6"] = { "事例", "示例"} export [ "si6 si6"] = { "事事", "視事"} export [ "si6 tou4"] = { "仕途", "視圖"} export [ "sik1 bit6"] = { "惜別", "識別"} export [ "sik1 ji4"] = { "析疑", "適宜", "釋疑"} export [ "sik1 juk6"] = { "息肉", "色慾"} export [ "sik1 sou3"] = { "悉數", "色素"} export [ "sik1 zi2"] = { "釋子", "骰子"} export [ "sik6 juk6"] = { "食慾", "食肉"} export [ "sik6 tong4"] = { "食堂", "食糖"} export [ "sin1 jan4"] = { "仙人", "先人"} export [ "sin1 lai6"] = { "先例", "鮮麗"} export [ "sin1 lit6"] = { "先烈", "鮮烈"} export [ "sin3 cing4"] = { "煽情", "線程"} export [ "sin3 dung6"] = { "扇動", "煽動"} export [ "sin6 bin3"] = { "善變", "嬗變"} export [ "sin6 hau6"] = { "善後", "善戰"} export [ "sing1 hung1"] = { "升空", "星空"} export [ "sing1 kap1"] = { "升級", "星級"} export [ "sing1 ming4"] = { "聲名", "聲明"} export [ "sing1 sik1"] = { "聲息", "聲色"} export [ "sing1 sing1"] = { "星星", "猩猩"} export [ "sing1 soeng1"] = { "星相", "星霜"} export [ "sing2 ng6"] = { "省悟", "醒悟"} export [ "sing3 dei6"] = { "勝地", "聖地"} export [ "sing3 fu6"] = { "勝負", "聖父"} export [ "sing3 ling4"] = { "性靈", "聖靈"} export [ "sing3 ming4"] = { "姓名", "聖明"} export [ "sing3 zi2"] = { "性子", "聖子", "聖旨", "蟶子"} export [ "sing4 coi4"] = { "成才", "成材"} export [ "sing4 gaau1"] = { "城郊", "成交"} export [ "sing4 gin3"] = { "城建", "成見", "承建"} export [ "sing4 jan4"] = { "成人", "成仁"} export [ "sing4 jing4"] = { "成型", "成形"} export [ "sing4 sam1"] = { "成心", "誠心"} export [ "sit3 lou6"] = { "泄露", "洩露"} export [ "sit6 bun2"] = { "折本", "蝕本"} export [ "siu1 faa3"] = { "消化", "硝化"} export [ "siu1 fong4 saan1"] = { "消火栓", "消防栓"} export [ "siu1 sat1"] = { "消失", "蕭瑟"} export [ "siu1 sau6"] = { "消受", "銷售"} export [ "siu1 sik1"] = { "消息", "消釋"} export [ "siu1 wai2"] = { "燒毀", "銷毀"} export [ "siu2 dik1"] = { "小滴", "小的"} export [ "siu2 hei3"] = { "小戲", "小氣"} export [ "siu2 ji4"] = { "小兒", "小姨"} export [ "siu2 ji4 zi2"] = { "小兒子", "小姨子"} export [ "siu2 loeng6"] = { "小量", "少量"} export [ "siu2 sang1"] = { "小僧", "小生"} export [ "siu2 si6"] = { "小事", "小視"} export [ "siu2 siu2"] = { "小小", "少少", "指事"} export [ "siu2 sou3"] = { "小數", "少數"} export [ "siu2 syu2"] = { "小暑", "小鼠"} export [ "siu2 syut3"] = { "小說", "小雪"} export [ "siu2 zi2"] = { "小子", "小指"} export [ "siu3 mei1 mei1"] = { "笑咪咪", "笑瞇瞇"} export [ "siu3 mi1 mi1"] = { "笑咪咪", "笑瞇瞇"} export [ "so1 lei5"] = { "梳理", "疏理"} export [ "so1 sai2"] = { "唆使", "梳洗"} export [ "so1 zi2"] = { "梭子", "梳子"} export [ "so2 wai6"] = { "所為", "所謂"} export [ "soeng1 can1"] = { "相親", "雙親"} export [ "soeng1 can3"] = { "相稱", "相襯"} export [ "soeng1 cing1"] = { "相稱", "雙清"} export [ "soeng1 daa2"] = { "相打", "雙打"} export [ "soeng1 fong2"] = { "廂房", "相仿"} export [ "soeng1 fung1"] = { "傷風", "雙峰"} export [ "soeng1 gwaan1"] = { "相關", "雙關"} export [ "soeng1 hou6"] = { "傷號", "商號"} export [ "soeng1 jan4"] = { "商人", "雙人"} export [ "soeng1 jyu5"] = { "湘語", "相與", "雙語"} export [ "soeng1 mong4"] = { "傷亡", "雙亡"} export [ "soeng1 sing1"] = { "雙星", "雙聲"} export [ "soeng1 sou3"] = { "商數", "雙數"} export [ "soeng1 wai4"] = { "相為", "相違"} export [ "soeng1 zi2"] = { "箱子", "雙子"} export [ "soeng2 zoeng6"] = { "想像", "想象"} export [ "soeng2 zoeng6 lik6"] = { "想像力", "想象力"} export [ "soeng5 bong2"] = { "上榜", "上綁"} export [ "soeng5 fo3"] = { "上課", "上貨"} export [ "soeng5 gaau1"] = { "上交", "上膠"} export [ "soeng5 jin4"] = { "上弦", "上言"} export [ "soeng5 saan1"] = { "上山", "上閂"} export [ "soeng5 zoeng3"] = { "上帳", "上漲"} export [ "soeng5 zong1"] = { "上妝", "上裝"} export [ "soeng6 coeng4"] = { "上庠", "上詳"} export [ "soeng6 fung1"] = { "上峰", "上風"} export [ "soeng6 gaai3"] = { "上屆", "上界"} export [ "soeng6 hou2"] = { "上好", "尚好"} export [ "soeng6 ji1"] = { "上衣", "上醫"} export [ "soeng6 lau4"] = { "上僂", "上流"} export [ "soeng6 man4"] = { "上文", "上聞"} export [ "soeng6 sou3"] = { "上溯", "上訴"} export [ "soeng6 syu1"] = { "上書", "尚書"} export [ "soeng6 zau3"] = { "上奏", "上晝"} export [ "soeng6 zi3"] = { "上智", "上知", "尚志"} export [ "soeng6 zoeng3"] = { "上將", "上漲"} export [ "sou3 miu4"] = { "掃描", "素描"} export [ "sou3 syut3"] = { "數說", "訴說"} export [ "sou3 zik6"] = { "數值", "素席"} export [ "sou3 zyu1"] = { "數珠", "訴諸"} export [ "suk1 suk1"] = { "叔叔", "颼颼"} export [ "suk6 dei6"] = { "屬地", "熟地"} export [ "suk6 sik1"] = { "熟悉", "熟識"} export [ "sung3 zung1"] = { "送終", "送中"} export [ "syu1 faat3"] = { "抒發", "書法"} export [ "syu1 gaa1"] = { "書家", "輸家"} export [ "syu1 se2"] = { "抒寫", "書寫"} export [ "syu1 wun4"] = { "紓緩", "舒緩"} export [ "syu1 wun6"] = { "紓緩", "舒緩"} export [ "syu1 zin2"] = { "書展", "舒展"} export [ "syu6 laap6"] = { "樹立", "豎立"} export [ "syu6 lap6"] = { "樹立", "豎立"} export [ "syu6 zi1"] = { "樹枝", "樹脂"} export [ "syun1 faa3"] = { "宣化", "酸化"} export [ "syun1 zi2"] = { "孫子", "宣旨", "宣紙"} export [ "syut3 baak6"] = { "說白", "雪白"} export [ "taa1 mun4"] = { "他們", "她們", "它們", "牠們", "祂們"} export [ "taai3 gu2"] = { "太古", "太鼓"} export [ "taai3 kek6"] = { "傣劇", "泰劇"} export [ "taan3 faa3"] = { "炭化", "碳化"} export [ "tai2 jing4"] = { "體型", "體形"} export [ "tai2 ngoi6 sau6 zing1"] = { "體外受精", "體外授精"} export [ "tai4 bat6"] = { "提拔", "題跋"} export [ "tai4 ci4"] = { "提詞", "題詞"} export [ "tai4 fong4"] = { "堤防", "提防"} export [ "tai4 ming4"] = { "提名", "題名"} export [ "tai4 zi2"] = { "提子", "蹄子"} export [ "tau1 dou6"] = { "偷渡", "偷盜"} export [ "tau4 toi1"] = { "頭胎", "投胎"} export [ "teoi1 ci4"] = { "推辭", "推遲"} export [ "teoi3 ciu4"] = { "退朝", "退潮"} export [ "teoi3 faa3"] = { "蛻化", "退化"} export [ "tim4 jin4"] = { "恬然", "甜言"} export [ "tim4 mat6"] = { "恬謐", "甜蜜"} export [ "tin1 ngaan5"] = { "天目", "天眼"} export [ "tin1 ping4"] = { "天平", "天秤"} export [ "tin1 wong4"] = { "天王", "天皇"} export [ "ting1 zing3"] = { "聽政", "聽證"} export [ "ting4 zi2"] = { "亭子", "停止"} export [ "tip3 zi2"] = { "帖子", "貼紙"} export [ "tiu4 lei5"] = { "條理", "調理"} export [ "tiu4 man4"] = { "條文", "條紋"} export [ "tiu4 zau2"] = { "笤帚", "調酒"} export [ "toi4 fung1"] = { "臺風", "颱風"} export [ "tong1 ci4"] = { "湯匙", "湯池"} export [ "tong4 ji1"] = { "堂姨", "糖衣"} export [ "tong4 sik6"] = { "堂食", "糖食"} export [ "tou2 si1"] = { "吐司", "土司"} export [ "tou3 hei3"] = { "吐棄", "吐氣"} export [ "tou3 lou6"] = { "吐露", "套路"} export [ "tou4 hei3"] = { "淘氣", "陶器"} export [ "tou4 jing4"] = { "圖形", "徒刑"} export [ "tou4 jyun4"] = { "桃園", "桃源"} export [ "tou4 zi2"] = { "圖紙", "桃子"} export [ "tung1 seon3"] = { "通信", "通訊"} export [ "tung1 sing3"] = { "通勝", "通性"} export [ "tung4 jan4"] = { "同人", "同仁", "瞳人", "瞳仁", "銅仁"} export [ "tung4 ling4"] = { "同齡", "銅陵"} export [ "tung4 nin4"] = { "同年", "童年"} export [ "tung4 sam1"] = { "同心", "童心"} export [ "tung4 sing1"] = { "同聲", "童星", "童聲"} export [ "tung4 sing3"] = { "同姓", "同性"} export [ "tung4 zi2"] = { "瞳子", "童子", "筒子"} export [ "tyun4 jyun4"] = { "團員", "團圓"} export [ "waa6-2 zoeng6"] = { "畫像", "畫匠"} export [ "waak6 jin4"] = { "或然", "砉然"} export [ "waan4 gu3"] = { "環顧", "頑固"} export [ "waan4 kau4"] = { "寰球", "環球"} export [ "waan4 si6"] = { "環視", "還是"} export [ "waan6 ging2"] = { "幻境", "幻景"} export [ "waang4 gaak3 mok6-2"] = { "橫膈膜", "橫隔膜"} export [ "wai1 ji4"] = { "委蛇", "威儀"} export [ "wai4 duk6"] = { "唯獨", "遺毒"} export [ "wai4 ji5 ging1 kwan4 dou2"] = { "法羅群島", "維爾京群島"} export [ "wai4 mat6"] = { "唯物", "遺物"} export [ "wai4 sam1"] = { "唯心", "違心"} export [ "wai4 wo4"] = { "維和", "違和"} export [ "wai4 zi2"] = { "為止", "遺址"} export [ "wai4 zoeng6"] = { "唯象", "遺像"} export [ "wai6 ho4"] = { "渭河", "為何"} export [ "wai6 sing1"] = { "彗星", "衛星"} export [ "wai6 zi2"] = { "位址", "位子"} export [ "wan1 cyun4"] = { "溫存", "溫泉"} export [ "wan5 goek3"] = { "韻白", "韻腳"} export [ "wan6 leon4"] = { "混淪", "渾淪"} export [ "wan6 syu1"] = { "運輸", "韻書"} export [ "wat1 zit3"] = { "屈折", "屈節"} export [ "wing4 gwong1"] = { "容光", "榮光"} export [ "wok6 sik1"] = { "獲悉", "獲釋"} export [ "wong4 dai3"] = { "皇帝", "黃帝"} export [ "wong4 gun1"] = { "王冠", "皇冠"} export [ "wong4 gwan1"] = { "皇軍", "蝗軍", "黃軍"} export [ "wong4 kei4"] = { "黃旗", "黃芪"} export [ "wong4 kyun4"] = { "王權", "皇權"} export [ "wong4 luk6 ji1 sang1"] = { "黃六醫生", "黃綠醫生"} export [ "wong4 paai4-2"] = { "王牌", "黃牌"} export [ "wong4 sat1"] = { "王室", "皇室"} export [ "wong4 sing4"] = { "王城", "皇城"} export [ "wong4 wai6"] = { "王位", "皇位"} export [ "wong4 zi2"] = { "王子", "皇子"} export [ "wong5 hau6"] = { "往後", "王后"} export [ "wu1 dung1"] = { "烏冬", "烏鶇"} export [ "wu1 zik1"] = { "污漬", "污跡"} export [ "wu1 zuk6"] = { "惡俗", "污濁"} export [ "wu4 fung1"] = { "胡峰", "胡蜂"} export [ "wu4 sou1"] = { "狐臊", "鬍鬚"} export [ "wu4 tou4"] = { "糊塗", "胡桃"} export [ "wu6 wai6"] = { "互惠", "護衛"} export [ "wui6 hap6"] = { "匯合", "會合"} export [ "wui6 jin2"] = { "匯演", "會演"} export [ "zaa3 ceoi2"] = { "榨取", "詐取"} export [ "zaap6 gam2"] = { "集錦", "雜感"} export [ "zaap6 luk6"] = { "集錄", "雜錄"} export [ "zaap6 mat6"] = { "什物", "雜物"} export [ "zai3 coi4"] = { "制裁", "製裁"} export [ "zan1 si6"] = { "珍視", "真事", "真是"} export [ "zan3 dong6"] = { "振盪", "震盪"} export [ "zan3 dung6"] = { "振動", "震動"} export [ "zan3 zoi1"] = { "賑災", "震災"} export [ "zang1 gwong1"] = { "增光", "爭光"} export [ "zang1 zik6"] = { "增值", "增殖"} export [ "zat1 sou3"] = { "質數", "質素"} export [ "zau1 coeng4"] = { "周詳", "周長"} export [ "zau2 fung1"] = { "走風", "酒瘋"} export [ "zau2 gwai2"] = { "走鬼", "酒鬼"} export [ "zau3 man4"] = { "咒文", "皺紋"} export [ "ze2 fu1"] = { "姊夫", "姐夫"} export [ "zeoi1 gik1"] = { "狙擊", "追擊"} export [ "zeoi1 sou3"] = { "追溯", "追訴"} export [ "zeoi6 jin4"] = { "序言", "贅言"} export [ "zeoi6 lok6"] = { "墜落", "聚落"} export [ "zeoi6 seot6"] = { "敘述", "贅述"} export [ "zeon1 zi2"] = { "榛子", "遵旨"} export [ "zeon3 ciu3"] = { "俊俏", "峻峭"} export [ "zeon3 gin3"] = { "晉見", "進見"} export [ "zeon3 gung1"] = { "竣工", "進宮", "進攻"} export [ "zeon6 loeng6"] = { "儘量", "盡量"} export [ "zi1 cin4"] = { "之前", "支前"} export [ "zi1 fong1"] = { "脂肪", "資方"} export [ "zi1 gaai2"] = { "支解", "肢解"} export [ "zi1 ji4"] = { "支移", "支頤"} export [ "zi1 jip6"] = { "支孽", "枝葉"} export [ "zi1 jyun4"] = { "支援", "資源"} export [ "zi1 lau4"] = { "之流", "支流"} export [ "zi1 lik6"] = { "資力", "資歷"} export [ "zi1 sang1"] = { "孳生", "滋生"} export [ "zi1 sik1"] = { "姿色", "知悉", "知識"} export [ "zi1 zit3"] = { "支節", "枝節"} export [ "zi1 zuk1"] = { "枝竹", "知足"} export [ "zi2 aat3"] = { "指壓", "紙壓"} export [ "zi2 gaap3"] = { "指甲", "趾甲"} export [ "zi2 gwat1"] = { "指骨", "趾骨"} export [ "zi2 man4"] = { "子民", "指紋"} export [ "zi2 mei4"] = { "紫微", "紫薇"} export [ "zi2 ming4"] = { "指名", "指明"} export [ "zi2 si6"] = { "只是", "指事", "指示"} export [ "zi2 sik1"] = { "止息", "紫色"} export [ "zi2 zing3"] = { "指正", "指證"} export [ "zi2 zoeng1"] = { "紙張", "紙漿"} export [ "zi3 ci4"] = { "致詞", "致辭"} export [ "zi3 fu3"] = { "智庫", "致富"} export [ "zi3 ji3"] = { "恣意", "致意"} export [ "zi3 lik6"] = { "智力", "致力"} export [ "zi3 sei2"] = { "至死", "致死"} export [ "zi6 ci4"] = { "字詞", "自持"} export [ "zi6 geoi3"] = { "字句", "字據"} export [ "zi6 hei3"] = { "正自", "稚氣", "自棄"} export [ "zi6 hok6"] = { "治學", "自學"} export [ "zi6 jin4"] = { "自然", "自燃"} export [ "zi6 jing4"] = { "字型", "字形"} export [ "zi6 lau6"] = { "痔漏", "痔瘻"} export [ "zi6 lei5"] = { "治理", "自理"} export [ "zi6 san1"] = { "自新", "自身"} export [ "zi6 soeng1"] = { "自傷", "自相"} export [ "zi6 tai2"] = { "字體", "自體"} export [ "zi6 wai6"] = { "字彙", "自衛"} export [ "zi6 zai3"] = { "自制", "自製"} export [ "zi6 zeoi6"] = { "治罪", "自序"} export [ "zik1 gung1"] = { "織工", "職工"} export [ "zik1 si6"] = { "即事", "即是"} export [ "zik1 wai6"] = { "即位", "職位"} export [ "zik1 zik6"] = { "即席", "織蓆"} export [ "zik6 gan1"] = { "植根", "直根"} export [ "zik6 gok3"] = { "直覺", "直角"} export [ "zik6 zik6"] = { "夕夕", "直直"} export [ "zin1 zin1"] = { "戔戔", "濺濺"} export [ "zin3 dau2"] = { "戰抖", "顫抖"} export [ "zin3 si6"] = { "戰事", "戰士"} export [ "zing1 bing1"] = { "徵兵", "精兵"} export [ "zing1 git3"] = { "癥結", "貞潔"} export [ "zing1 hei3"] = { "蒸氣", "蒸汽"} export [ "zing1 jing1"] = { "精英", "菁英"} export [ "zing1 kau4"] = { "徵求", "晶球"} export [ "zing1 pik1"] = { "晶癖", "精闢"} export [ "zing1 sam1"] = { "精心", "精深"} export [ "zing3 faat3"] = { "政法", "正法"} export [ "zing3 gaau3"] = { "政教", "正教"} export [ "zing3 jin4"] = { "正弦", "證言"} export [ "zing3 jiu3"] = { "政要", "正要"} export [ "zing3 si6"] = { "政事", "正事", "正是", "正視"} export [ "zing3 sik1"] = { "正式", "正色"} export [ "zing3 tai2"] = { "政體", "正體"} export [ "zing3 zi6"] = { "政治", "正字", "正治", "正自"} export [ "zing3 zik1"] = { "政績", "正職"} export [ "zing3 zik6"] = { "正值", "正直"} export [ "zing3 zung1"] = { "正中", "正宗"} export [ "zing6 mak6"] = { "靜脈", "靜默"} export [ "zing6 mat6"] = { "靜物", "靜謐"} export [ "zip3 hap6"] = { "接合", "接洽"} export [ "zit3 cou3"] = { "浙醋", "節操"} export [ "ziu1 mou6"] = { "招募", "朝暮", "朝霧"} export [ "zo6 ci3"] = { "坐廁", "座次"} export [ "zo6 wai6-2"] = { "坐位", "座位"} export [ "zo6 zik6"] = { "坐席", "座席"} export [ "zo6 zong1"] = { "坐莊", "坐贓"} export [ "zoeng2 zi2"] = { "長姊", "長子"} export [ "zoeng6 fu1"] = { "丈夫", "象夫"} export [ "zoeng6 jan4"] = { "丈人", "象人"} export [ "zoeng6 pei4"] = { "橡皮", "象皮"} export [ "zoi3 gin3"] = { "再建", "再見"} export [ "zoi6 zik1"] = { "在即", "在職", "鐘點"} export [ "zong1 sik1"] = { "妝飾", "裝飾"} export [ "zong6 zi2"] = { "狀子", "狀紙"} export [ "zou2 sin1"] = { "早先", "祖先"} export [ "zou6 gun1"] = { "作官", "做官"} export [ "zou6 mung6"] = { "做夢", "造夢"} export [ "zou6 sing4"] = { "做成", "造成"} export [ "zou6 zok3"] = { "做作", "造作"} export [ "zuk1 gok3"] = { "觸覺", "觸角"} export [ "zuk1 mo2"] = { "捉摸", "觸摸"} export [ "zuk1 muk6"] = { "矚目", "觸目"} export [ "zuk1 toi4"] = { "燭臺", "築臺"} export [ "zuk6 cing1"] = { "俗稱", "族稱"} export [ "zuk6 gaa1"] = { "俗家", "逐家"} export [ "zuk6 jan4"] = { "俗人", "族人"} export [ "zuk6 zi6"] = { "俗字", "逐字"} export [ "zung1 cing4"] = { "中程", "鍾情"} export [ "zung1 coeng4"] = { "中場", "終場"} export [ "zung1 cyun1"] = { "中川", "中村"} export [ "zung1 dim2"] = { "中點", "終點", "鐘點"} export [ "zung1 gaau3"] = { "中校", "宗教"} export [ "zung1 gai3"] = { "中繼", "中計"} export [ "zung1 gwok3 waa6-2"] = { "中國畫", "中國話"} export [ "zung1 hap6 bou3 dou6"] = { "綜合報導", "綜合報道"} export [ "zung1 jat6"] = { "中日", "終日"} export [ "zung1 joek6"] = { "中藥", "舂藥"} export [ "zung1 jyu1"] = { "忠於", "終於"} export [ "zung1 lau4"] = { "中流", "鐘樓"} export [ "zung1 nin4"] = { "中年", "終年"} export [ "zung1 sam1"] = { "中心", "忠心", "衷心"} export [ "zung1 si1"] = { "宗師", "螽斯"} export [ "zung1 sik1"] = { "中式", "棕色"} export [ "zung1 zi2"] = { "中子", "中指", "中止", "宗旨", "盅子", "終止"} export [ "zung1 zuk6"] = { "中軸", "宗族"} export [ "zung2 laam5"] = { "總攬", "總覽"} export [ "zung2 zoeng3"] = { "總帳", "腫脹"} export [ "zung3 gun1"] = { "綜觀", "縱觀"} export [ "zung3 hap6 bou3 dou6"] = { "綜合報導", "綜合報道"} export [ "zyu1 jyu4"] = { "侏儒", "茱萸", "諸如"} export [ "zyu2 gok3"] = { "主腳", "主角"} export [ "zyu2 jip6"] = { "主業", "主頁"} export [ "zyu2 sik6"] = { "主食", "煮食"} export [ "zyu2 zi2"] = { "主子", "主旨"} export [ "zyu3 ming4"] = { "注明", "著名"} export [ "zyu6 zi2"] = { "住址", "箸子"} export [ "zyun1 coeng4"] = { "專場", "專長"} export [ "zyun1 gung1"] = { "專供", "專攻"} export [ "zyun1 zyu3"] = { "專注", "專著"} export [ "zyun2 zit3"] = { "撙節", "轉折"} return export.

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Canada

casts Sacha Charles, Magalie Lépine Blondeau

Louise Archambault

Writed by Isabelle Langlois

Tomatometer 7,1 of 10

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runtime: 94minutes

7,3 of 10 Stars

Release Year: 2019

Scores: 271 votes

genre: Comedy

 

 

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The climb movie 2002. The Climb. The Climb movie page. The climb movie clip. Agosto 2019. Isso é diferente, é muito bom, estou viciada. 🇧🇷🇧🇷. I can almost see it That dream I'm dreaming but There's a voice inside my head saying You'll never reach it, Every step I'm taking, Every move I make feels Lost with no direction My faith is shaking but I Gotta keep trying Gotta keep my head held high There's always gonna be another mountain I'm always gonna wanna make it move Always gonna be an uphill battle Sometimes I'm gonna have to lose Ain't about how fast I get there Ain't about what's waiting on the other side It's the climb The struggles I'm facing The chances I'm taking Sometimes might knock me down but No I'm not breaking I may not know it But these are the moments that I'm going to remember most yeah Just got to keep going And I I gotta be strong Just keep pushing on, cause There's always gonna be another mountain I'm always gonna wanna make it move Always gonna be an uphill battle Sometimes I'm gonna have to lose Ain't about how fast I get there Ain't about what's waiting on the other side It's the climb (yeah) There's always gonna be another mountain I'm always gonna wanna make it move Always gonna be a uphill battle Sometimes you gonna have to lose Ain't about how fast I get there Ain't about what's waiting on the other side It's the climb (yeah yeah ea ea) Keep on moving Keep climbing Keep the faith baby It's all about It's all about The climb Keep the faith Keep your faith Whoa oh oh.

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A tribe of cats called the Jellicles must decide yearly which one will ascend to the Heaviside Layer and come back to a new Jellicle life Musical rating=20743 votes Runtime=1 H 50 m country=UK Director=Tom Hooper. Cats movie scenes. Cats pictures.

 

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Cats vs invisible wall. Catskill hudson bank. Cats movie. Cats in the cradle. Never seen the musical. No expectations one way or other. I thought it was fun. Critics (professional or recreational) need to reprioritise some of their life choices as they seem to be wasting a lot of positive energy in the creation of negativity. Is it weird? Probably. Is it a heinous crime against all things cinematic and correct. No, it's fun and like watching a theatrical musical at the cinema. Go figure. Good cast. Committed performances. My kids enjoyed it and, although I generally avoid Lloyd Webber musicals, I tapped my toes, smiled and wondered if the world just needs a little more love and fewer critics.

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Catskill flies. Cats scared of cucumbers. Cats web. Has anybody who's watched the film actually watched the musical? It's a brilliant version of play and a top draw cast (excluding Taylor Swift. All 5 of our family came out loving it and wanting to see it again. Cats that look like hitler. I have not seen the play, so my expectations were on the ground. This is not an awful film. Its pretty amazing how it turned out thanks to our film technology. I will say, the CGI on their footwork was not the best. You could tell that was edited. But overrall Cata was not a bad movie, nor was the plot confusing. The plot is determing who will be the nect gellical cat. Of course theres a villain and you know that from the beggining. People are saying its slow, but it feels like a theatrical musical. Every scene is a song and at some point youre going to just want them to have dialouge instead of lyrics. Some songs are catchier than others and more fun. Cats is art.

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Cats musical. Cats pause. Reminds of my cats. they r behind me. Again. Kitty always win. Enthusiastic engineer 67. Hahahahaha😍😘. Touch me! It's so easy to leave me! Man those words just strike your heart. I had heard a lot of negative reviews about this film and to some extent i agree. The acting was ok the songs well sung and in particular love the new song written by Taylor Swift. but there it stops. For me it was ruined by over suse of CGI. There is some magical scenes where the ballet choreography would be breathtaking. But its been messed with to such an extent it just looks weird.
Its watchable but could have been 100 x better shame really.

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1. Columnist: Baek Hugo
2. Biography I have a son named Huru 🐱 // (Just an RP acct.)
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1. Faleena Hopkins
2. Faleena Hopkins
3. actor=Patrick Zeller
4. 2019
5. runtime=1Hours 40Minute
6. 7,3 of 10 Star

超懐かしい！あの頃の思い出が… やっぱり音楽っていいですよねぇ😍. I love this song. Just One More Kiss Movie stream online. ŁAAAAAAAAAAAAAA POPEEEEEEEEK 2013. E FIE E RE MA KURWY.

 

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JustWatch. How lucky people that are living in this time of generation. 年取ったらみんなかなりイケメンになりましたね. ファンになって21年です♡. この曲を聴くと大槻ケンジのオールナイトニッポンを思い出してしまう. Making Atsushi Sakurai the lead vocalist was the best decision the band could have made. I don't think Buck-Tick would be nearly as big as it is if they hadn't. Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies. Type the characters you see in this image: Try different image Conditions of Use Privacy Policy © 1996-2014,, Inc. or its affiliates. Makes me light-headed…. 2 wins & 2 nominations. See more awards  » Learn more More Like This Action | Comedy 1 2 3 4 5 6 7 8 9 10 5 / 10 X A reformed young man with a steady job, Benny, returns to the city of his youth to find the girl he's been in love with since childhood and that's home to his four petty criminal friends, Jacko, Zac, Bisto and Flea. Director: Stewart Sugg Stars: Douglas Henshall, Emily Woof, Miles Anderson Thriller 6. 8 / 10 The tragic, unexpected death of David in a car-crash causes the cozy, safe life of gardener Beth to be thrown into complete chaos. In the aftermath, as Beth begins to pick up the pieces,... See full summary  » Philip Saville Tara Fitzgerald, Cherie Lunghi, Peter Bowles Drama 6. 3 / 10 Madame Ranevskaya (Charlotte Rampling) is a spoiled aging aristocratic lady, who returns from a trip to Paris to face the loss of her magnificent Cherry Orchard estate after a default on... See full summary  » Michael Cacoyannis Charlotte Rampling, Alan Bates, Tushka Bergen Crime 5. 6 / 10 Gilly, fresh out of prison, and J, a hustler with a major drug problem, just can't shake their criminal ways. Directors: Glenn Durfort, Colin Teague Adrian Dunbar, Andrew Howard, Louis Dempsey Ariel Vromen Gerard Butler, Clifford David, Peter Franzén Fantasy Horror 4. 8 / 10 A group of thieves breaks into a chamber expecting to find paintings, but instead they release the count himself, who travels to New Orleans to find his nemesis' daughter, Mary Van Helsing. Patrick Lussier Justine Waddell, Jonny Lee Miller Romance 7. 7 / 10 After having responded to her son's numerous letters in the guise of his father, a woman hires a stranger to pose as his dad when meeting him. Shona Auerbach Emily Mortimer, Jack McElhone, Gerard Butler Adventure 3. 9 / 10 Centuries ago, under the sands of ancient Egypt, a Prince was buried and his tomb eternally cursed so that no man would ever again suffer from his evil ways. But hundreds of years later on... See full summary  » Russell Mulcahy Jason Scott Lee, Louise Lombard, Sean Pertwee Biography Sport 7. 2 / 10 When young Jay Moriarity discovers that the mythic Mavericks surf break, one of the biggest waves on Earth, exists just miles from his Santa Cruz home, he enlists the help of local legend Frosty Hesson to train him to survive it. Michael Apted, Curtis Hanson Jonny Weston, Elisabeth Shue Sci-Fi A group of archaeologists become trapped in the past when they go there to retrieve a friend. The group must survive in fourteenth century France before they can escape back to the twenty-first century. Richard Donner Paul Walker, Billy Connolly History 6. 1 / 10 Based on a true story, this film tells the tale of the 1950 U. S. soccer team, who, against all odds, beat England 1 - 0 in the city of Belo Horizonte, Brazil. Although no U. team has ever won a World Cup title, this story is about the family traditions and passions which shaped the lives of the players who made up this team of underdogs. David Anspaugh Wes Bentley, Gavin Rossdale War 7. 1 / 10 When a Newsweek photojournalist disappears in war-torn Yugoslavia, his wife travels to Europe to find him. Élie Chouraqui Andie MacDowell, Scott Anton, Elias Koteas Edit Storyline When Sarah Hopson realizes her successful high-rise New York lifestyle is devoid of meaning, she packs her bags and heads for her home town in the Scottish Borders to look for Sam, her childhood sweetheart and the only man she ever loved. Sam Murray runs a restaurant. He and Sarah grew up together and Sam hoped they'd grow old together. His world fell apart the day Sarah left and now she's back, standing on his doorstep and telling his wife she'd like to spend some time with him. Written by NybergerMeister Plot Summary Add Synopsis Taglines: Sincere and moving, One More Kiss should inspire all those who see it. (****Empire). See more  » Details Release Date: 18 February 2000 (UK) Also Known As: One More Kiss Company Credits Technical Specs See full technical specs  » Did You Know? Connections References King Kong  (1933) See more » Soundtracks Through the Rain Written & Performed by Gavin Clarke & Paul Bacon With thanks to Dominic Dylan & Rob Brooks Courtesy of Independiente See more ».

Just One More Kiss Movie streaming. Just One More Kiss Movie stream new. "No"Sing"Up... 今見てもやっぱりかっこいい. Opens February 20, 2020 Romance Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing Just One More Kiss (2020) near you. ENTER CITY, STATE OR ZIP CODE GO Fandango FANALERT® This movie releases on February 20, 2020. Sign up for a FANALERT® and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. Privacy Policy CHECK OUT WHAT'S PLAYING NEAR YOU.

NO  B-T,NO LIFE. Who is listening to this beautiful song in thanksgiving day 2019. ダイエースプレーの出番だ！. 当時の狂った太陽のジャケに何枚も重ねたセロファン同梱してあったなぁ ホント好き. 自分用 5:20. Watch Just One More Kiss Online Vidbull Watch Just One More Kiss full movie english download. Jacinda played the part perfectly.

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編集・曲の流れ・オーディエンスの映り方も最高☆. YouTube. Musica linda, casal lindo. Critics Consensus No consensus yet. Tomatometer Not Yet Available TOMATOMETER Total Count: N/A 45% Audience Score User Ratings: 612 One More Kiss Ratings & Reviews Explanation One More Kiss Photos Movie Info Vadim Jean directs this strikingly photographed tale about Sarah (Valerie Edmond), a 30-year woman coming to terms with both her life and her terminal cancer. The film opens with her contemplating suicide on top of a New York skyscraper. Cut to northern England, where she returns to her widower father Frank (James Cosmo) and her now married ex-boyfriend Sam (Gerry Butler), whom she previously dumped to pursue a career in the States. Frank has settled into a melancholy housebound rut and is disconcerted by her sudden appearance. Sam still has some feelings for his ex, but his wife Charlotte is none too pleased with her presence. Told with humor and brevity, the film offers well-drawn characters who interact until the inevitable yet dignified end. ~ Jonathan Crow, Rovi Rating: NR Genre: Directed By: In Theaters: Jan 1, 2001 wide On Disc/Streaming: Jun 6, 2006 Runtime: 100 minutes Cast Critic Reviews for One More Kiss There are no critic reviews yet for One More Kiss. Keep checking Rotten Tomatoes for updates! Audience Reviews for One More Kiss One More Kiss Quotes Movie & TV guides.

Just One More Kiss Movie. - Terminator Tubi is the largest free movie and TV streaming service in the US. We are not available in Europe due to changes in EU laws. The GDPR went into effect on May 2018; Tubi is working on compliance and planning to re-launch in European countries soon. Be the first to know when Tubi is available in your country. Austria Contact Us. Just One More Kiss Movie stream.

Just One More Kiss Movie streaming sur internet. Just One More Kiss (2019) 1hr 41min  |   English  |  Morning Dove Pictures and BarBhouse Productions What if you had more time with the one you lost? For Max and Abby, 'til death do us part isn't long enough when Max is accidentally killed, and his ghost returns to help her get over him. Just One More Kiss, a ghost love story, because it's about time we had another one. In theaters Feb. 20, 2020. Streaming soon afterward. Novel available on all major platforms under the same name, by writer-director Faleena Hopkins.

Just one more kiss movie streaming. Wonderful musical performance ! This is a lovely rendition recorded in English, but I personally feel that the original rendition recorded in Italian is far superior. あっちゃんは他の人とは格が違う素適カッコ良すぎる☆☆☆. Love this Faleena. I have to watch this.

Thank you, thank you, THANK YOU for making this

２０年くらい前にライヴを見に行きました.今見てもすごくかっこいい.最高じゃないか. This looks SO emotional, I think I'll wait until my winter break to watch it lol. Videos Learn more More Like This Horror | Thriller 1 2 3 4 5 6 7 8 9 10 7. 3 / 10 X Avery Malone, a wannabe writer and lonely librarian, gets her big break when she's hand-selected to assist her hero, reclusive author, Caleb Conrad. Whisked away to Caleb's remote estate,... See full summary  » Director: Braden Croft Stars: Sara Garcia, John Cassini, Julian Black Antelope Documentary 8. 1 / 10 A documentary film that follows director Rotimi Rainwater, a former homeless youth, as he travels the country to shine a light on the epidemic of youth homelessness in America. Rotimi Rainwater Rosario Dawson, Halle Berry, Tiffany Haddish Action 8 / 10 The inspiring story of a BMX champion who overcame an abusive childhood through the love and life lessons of his interracial foster family. Alex Ranarivelo Shane Graham, Ludacris, Sasha Alexander Drama 6. 1 / 10 When a museum celebrating the Ku Klux Klan opens in a South Carolina town, the idealistic Reverend Kennedy strives to keep the peace even as he urges the group's Grand Dragon to disavow his racist past. Andrew Heckler Garrett Hedlund, Andrea Riseborough, Forest Whitaker Comedy Crime 6. 6 / 10 A policeman is intent on freeing a crooked businessman from a prison in Romania. He travels to Gomera, an island in the Canaries, where he must first learn the difficult local dialect, a language which includes hissing and spitting. Corneliu Porumboiu Vlad Ivanov, Catrinel Marlon, Rodica Lazar 4 / 10 Barely escaping an avalanche during a family ski vacation in the Alps, a married couple is thrown into disarray as they are forced to reevaluate their lives and how they feel about each other. Directors: Nat Faxon, Jim Rash Julia Louis-Dreyfus, Will Ferrell, Miranda Otto Adventure When the world's greatest spy meets the woman of his dreams, he abandons his adventurous existence and settles into the security of suburbia. Drew Mylrea Poppy Delevingne, Drew Van Acker, Dave Sheridan 6. 2 / 10 A new feature film documentary about legendary NYTimes photographer Bill Cunningham. Mark Bozek Bill Cunningham Romance Two young lovers change the lives of their parents forever when the parents learn from the joyful experience of their kids, and allow themselves to again find their love. Klaus Menzel Sharon Stone, Iain Glen, Andy Garcia A woman not married to the President runs for First Lady, but she winds up getting a better proposal than she ever expected. First Lady is a classic romantic comedy with the backdrop of Presidential Politics and Royal Charm. Nina May Nancy Stafford, Corbin Bernsen, Stacey Dash 7. 2 / 10 After an accidental pregnancy turned abortion, a deadbeat nanny finds an unlikely friendship with the six-year old she's charged with protecting. Alex Thompson Kelly O'Sullivan, Charin Alvarez, Braden Crothers 6 / 10 A teenager in a family shelter, wages war against the system to keep her sisters together while she pursues her dreams of being a dancer. A story about displaced youth, ambition and strength. Sam de Jong Slick Woods, George Sample III, Danny Hoch Edit Storyline Ever longed for time with someone you lost? For Max and Abby, 'til death do us part' wasn't enough time in this ghost-love-story drama, the directorial debut by writer and critically acclaimed actress, Faleena Hopkins. You'll find the beginning starts out light and fluffy and then. Plot Summary Add Synopsis Details Release Date: 20 February 2020 (USA) See more  » Also Known As: Just One More Kiss Company Credits Technical Specs See full technical specs  ».

大人のステージという風に言えばいいのかな・・・かつての刺激的さはもう無い.まあそれぞれの道があるけどバクチクは歳による体力低下がステージに出ちゃってるね.まあ大人のバクチクとして観ればいいんじゃないかな.だけどボーカル太ったね.ギターも動きがもうトロいね.バクチクはボウイと違って今の若い人には受け入れられないだろうな.それとロックでは無くなってるしねもう今のバクチクは.

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Genres=Horror; Quentin Dupieux; France; 1hour 17minutes; Release year=2019; Creators=Quentin Dupieux.

Georges ( Jean Dujardin) é um homem obcecado. Após abandonar sua esposa, ele saca boa parte do dinheiro que tem em conta em busca de comprar uma jaqueta especial, relembrando um clássico do estilo faroeste. Ao adqurí-la, sob o custo de 7. 300 euros, ele fica totalmente admirado, ganhando ainda uma câmera de presente de seu vendedor. Porém, a obsessão começa a ganhar contornos de uma certa insanidade quando Georges inicia suas conversas com a jaqueta e ela estabelece, em conjunto dele, um plano único: ser a única jaqueta no mundo. Como atingir esse objetivo? Bom, fazendo um filme. Você pode agora estar se perguntando se realmente leu tudo escrito anteriormente. E, bom, é realmente sobre isso que  Deerskin: A Jaqueta de Couro de Cervo trata, nessas relações bastante malucas do protagonista. A sua relação especial e totalmente iconográfica com o faroeste (ele diz o tempo inteiro que é o estilo “matador”) vai ganhando contornos ainda maiores quando ele compra luvas, botas e ainda ganha uma calça e pega um chapéu. Torna-se um ser nesse estilo mais clássico possível, sendo algo que almeja desde o prinpício. E, não, não pense que estou falando uma obra na qual retrata isso de uma forma totalmente séria. Isso aí, muito pelo contrário. O diretor e roteirista  Quentin Dupieux usa e abusa de um comédia de absurdos, algo típico de um cinema dos anos 70 e 80, e assim como em seus filmes anteriores. Entretanto, ao usar essa base, o cineasta traz para uma relação satírica do mundo contemporâneo, especialmente a relação material capitalista, retratada com força em Rubber, de 2010. Entretanto, toda sua encenação não busca uma complicação mais dramática ou até de gênero para isso. Ele se utiliza dessas ligações modernas para fazer sua narrativa sempre parecer totalmente absurda. A cada novo segmento, um novo absurdo é colocado em pauta. Só a trama aqui – da mesma forma em Rubber – já é um absurdo por si só. Mais do que apenas apresentar esses elementos, é interessante a forma que o cineasta transborda isso para um desenvolvimento no universo. Um exemplo claro disso é a personagem Denise ( Adèle Haenel. Ela, aparecendo inicialmente como uma atendente em um bar, tranforma-se na editora desse “filme” proposto por Georges. Nessa película cinematográfica, a busca é apenas uma: pegar as jaquetas das diversas pessoas. Denise, aliás, até traz um momento de uma ironia própria do longa ao interpretar tudo que está sendo filmado pelo personagem principal. Segundo ela, aquilo representaria a “casca humana na atualidade do mundo”. Novamente, um absurdo colocado em tela na qual acaba corroborando para toda essa mítica. Toda a história toma aos poucos uma autoconscienciência bastante empolgante. A produção, em que parece buscar um exagero a todo parte em seus primeiros 40 minutos, toma um certo rumo afim desse exagero, não usando apenas ele como subterfúgio único. Cada pequena cena constrói algo mais impressionante e quase catártico, especialmente pelo nível das piadas chegar a algo até deveras extravagante. Nesse sentido, a metalinguagem toma forta de retratar quase um “processo” cinematográfica, de uma certa obsessão por aquilo tudo – relacionado ao filme feito. Quentin Dupieux  realiza em  Deerskin: A Jaqueta de Couro de Cervo  um filme que parece não se propor a nada, porém consegue economizar bem toda sua encenação a apenas um fim: a loucura. Sua insanidade narrativa funciona afim de catapultar os pequenos elementos apresentados anteriormente. A jaqueta, que ganhou vida própria com Georges, pode ser a mesma coisa futuramente sob os ombros de alguma outra pessoa. Toda essa estética do ilógico fecha em uma perfeição ímpar, trazendo algo do nada para tela. Bom, se Monty Phyton poderia querer algum representante contemporâneo – dada as devidas comparações. o cineasta parece saber reconhecer bem o humor do grupo. Comentários.

A jaqueta de couro é uma peça essencial no guarda roupa masculino. Por ser uma peça que combina para qualquer ocasião, independente do traje que você irá vestir, ela acaba se tornando muito utilizada nos dias de frio. Isso faz com que seja necessário tomar alguns cuidados com a peça feita de couro. O couro, quando não é bem cuidado, acaba estragando muito mais cedo do que deveria, fazendo com que você precise ficar comprando novas peças, quando poderia ter aproveitado elas por mais tempo. Portanto, para fazer com que a sua jaqueta de couro dure mais, você deve seguir essas dicas: 1) O calor pode estragar o couro. O couro em contato com o calor pode ressecar, fazendo com que a sua jaqueta comece a realmente descascar. Por isso, colocar a sua jaqueta no sol pode ser muito prejudicial para ela, fazendo com que ela fique danificada e até mesmo deformada. O mesmo ocorre com o ferro de passar roupas. Evite passar esse tipo de jaqueta, para não criar maiores danos na peça. Mas caso ela esteja realmente amassada, nunca coloque o ferro diretamente no couro, utilize algum pano grosso sobre a jaqueta e passe as partes mais amassadas. 2) É preciso saber guardar a jaqueta adequadamente. Guardar a jaqueta de couro no guarda roupa e deixá-la junto com as outras jaquetas de frio pode fazer com que ela estrague. Isso porque a jaqueta de couro precisa ser guardada em um local fresco e arejado, para evitar fungos. Evite guardar essa jaqueta em sacos plásticos, pois eles impendem que o couro respire. Por isso, encontre um local mais adequado para guardar a sua jaqueta para que ele tenha mais tempo de uso. Não esqueça de deixar ela em um cabide, para evitar marcas e amassados desnecessários. Quanto mais largo for o cabide, melhor. 3) Nunca guarde a jaqueta molhada. Se você saiu e pegou chuva com a sua jaqueta, nada de guardar ela assim. Antes de guardá-la, passe um pano nela e depois deixe ela secar completamente em temperatura ambiente antes de guardá-la. O mesmo vale para quando você for passar um pano úmido na sua jaqueta para limpá-la. Antes de guardar tenha certeza de que ela já está completamente seca. 4) Hidrate o couro. O couro pode ser hidratado para que dure por mais tempo, tendo sempre um aspecto de novo. Para hidratar o couro você pode passar um hidratante comum de pele (sem cheiro) com auxílio de um pano. Existem produtos que são específicos para hidratar o couro. Você pode utilizá-los caso não se importe em gastar um pouco mais. Porém, um hidratante comum já deve evitar que o couro resseque. Depois de aplicar o hidratante, deixe ele secando naturalmente antes de guardar a sua jaqueta. 5) A lavagem deve ser feita por um profissional. Se você perceber que o couro está precisando de uma boa limpeza, é aconselhável que você leve para uma lavanderia, pois lá eles terão os equipamentos necessários para limpar, higienizar e secar a sua jaqueta de uma forma que não traga danos. Se você cuidar adequadamente de sua jaqueta, limpando e hidratando periodicamente, esse procedimento de limpeza com profissional pode ser adiado ou até mesmo evitado. Deixe essa lavagem para quando for realmente necessário. O que fazer em caso de mofo? O mofo é muito comum nas jaquetas de couro, principalmente quando elas ficam guardadas em locais inadequados e com pouca ventilação. Caso você perceba que a jaqueta está cheia de manchas brancas, ficando com um aspecto acinzentado, isso é mofo! Para limpar o mofo você pode utilizar vinagre claro, com o auxilio de um pano. Ao passar o pano você percebe que o mofo e a sujeira ficam toda nele. Depois de passar o vinagre, você deve secar o couro com outro pano. Então espere um tempo e passe um hidratante. Nesse caso você pode usar o óleo de amêndoas, pois ele ajuda a tirar o cheiro do mofo e também do vinagre. Despeje óleo diretamente no couro e espalhe com as mãos. Você pode deixar uma boa camada de óleo no couro. Espere cerca de 15 minutos para que o couro absorva o óleo e depois é só tirar os excessos. Dessa forma você irá cuidar adequadamente da sua jaqueta de couro, fazendo com que ela dure por mais tempo, sempre com um aspecto de novo. É interessante que você faça a limpeza e a hidratação de sua jaqueta cerca de duas vezes por ano.

Este site usa cookies para oferecer a melhor experiência possível. Ao navegar em nosso site, você concorda com o uso de cookies. Se você precisar de mais informações e / ou não quiser que os cookies sejam colocados ao usar o site, visite a página da Política de Privacidade. “Estilo matador” Matheus Fiore - 9 de dezembro de 2019 O filme de Quentin Dupieux já nasce fadado a quebrar convenções. Uma das principais convenções do audiovisual, por exemplo, é apresentar a ideia central da obra já em seu ato de abertura, algo que “Deerskin: A Jaqueta de Couro de Cervo” joga no lixo ao nos permitir compreender plenamente qual a proposta de Dupieux apenas no segundo ato. Mas a narrativa criada pelo francês vai além: seu longa também parte de um cinema mais formal (não no sentido de forma fílmica, mas no de rigidez) para transformar-se em um slasher descompromissado com as lógicas narrativas mais típicas. “A Jaqueta de Couro de Cervo” acompanha um sujeito que se isola em um hotel no interior da França com sua recém adquirida jaqueta de couro de cervo. O personagem, quando perguntado sobre o que faz, reluta antes de inventar a história de que é um diretor de cinema. Curiosamente, esse protagonista, Georges, de fato se torna um diretor ao longo do filme. “A Jaqueta” apresenta um personagem que, inicialmente, parece totalmente à deriva, até que encontra-se justamente nas experiências, improvisos e sugestões que surgem de suas interações com outros personagens. A primeira metade do filme sugere um desdém para um tipo de cinema mais pretensioso, como o do diretor Yorgos Lanthimos. Não à toa, a trilha aposta em arranjos de cordas semelhantes ao de “O Lagosta” em situações que, a priori, não sugerem nenhuma tensão clara. O fato de o próprio protagonista apresentar-se como um diretor sem mesmo ter ideia de o que está fazendo – algo que fica claro quando ele expõe não saber sobre o que é seu projeto – reitera essa crítica à arte “pedante” de diretores como Lanthimos. O interessante, porém, é como Georges aos poucos dá vida a uma obra totalmente instintiva e bruta, um verdadeiro slasher, no qual ele sai para caçar pessoas e roubar seus… Casacos. Sabendo aproveitar o humor de maneira crescente – se as primeiras cenas causam apenas estranheza, todas as bizarrices que surgem e a forma caricata com que os personagens lidam com ela fazem o ato final ser uma piada completa –, “A Jaqueta” desconstrói nossas impressões iniciais para transformar-se em um filme muito mais direto e distante das complexidades que o ato inicial poderia sugerir. As incertezas, sutilezas e mistérios são substituídos por um filme que parece guiado unicamente pelos instintos de seu protagonista. O sujeito de terno que inicia a projeção, logo, se torna um verdadeiro vilão; nas suas próprias palavras, no “estilo matador”, como Jason, Freddie e Myers. Texto originalmente publicado como parte da cobertura do Plano Aberto do Festival do Rio de 2019. Para conferir toda a nossa cobertura, clique aqui.

La piel de cervon. Deerskin: A Jaqueta de Couro de Cervo chega aos cinemas em janeiro e acaba de ganhar novo trailer (Imagem: Reprodução) A comédia  Deerskin: A Jaqueta de Couro de Cervo acaba de ganhar seu trailer legendado, que foi recentemente divulgado pela  California Filmes. A produção francesa tem a direção do cineasta vencedor do Oscar Quentin Dupieux, que também nasceu no país da Europa. O diretor já esteve por trás de outros longas, alguns deles conhecidos do público. São eles Au Poste! Réalité, Rubber, Wrong e Wrong Cops: Os Maus Policiais. A história acompanha a trajetória de Georges, interpretado pelo ator Jean Dujardin. Nosso protagonista encontra uma fascinante jaqueta de couro que fará com que sua vida sofra uma virada e mude radicalmente da noite para o dia. A peça, no entanto, passa a ser sua principal obsessão, o que faz com que ele chegue a uma jornada de possessividade, ciúmes e até um comportamento psicótico. Sem se dar conta, ele acaba se tornando uma pessoa totalmente diferente. Diretor fala sobre a produção A jaqueta, é claro, não se trata simplesmente de uma peça de roupa. O diretor falou (via Pipocas Club) a respeito do filme e explicou um pouco sobre a trama. “Em Deerskin eu queria filmar a loucura. Eu tenho o rótulo de um diretor que faz filmes malucos, mas nunca tinha filmado a loucura. Eu realmente queria me confrontar com um personagem que descarrila, sem artifício, sem meus truques habituais. Aqui, o personagem é concreto. O mundo ao seu redor também. Você poderia passar por alguém como Georges na rua. Você poderia até ser o Georges e isso é assustador”, disse. VEJA TAMBÉM: Deerskin: A Jaqueta de Couro de Cervo foi exibido na Quinzena dos Realizadores no Festival de Cannes de 2019 e também fez parte da seleção do Festival de Cinema do Rio. A estreia nos cinemas acontece no próximo dia 23 de janeiro de 2020. Veja o trailer legendado de Deerskin: A Jaqueta de Couro de Cervo: Formado em Marketing, é apaixonado por assuntos relacionados a entretenimento e televisão, no geral. Viciado em redes sociais e conteúdo para a web, acompanha esses tópicos há cerca de 15 anos. Ex-colaborador de outros sites de entretenimento. Comentários.

I was expecting an absurd comedy. This was not a comedy, although I did laugh twice. Não me pergunte minhas opiniões sobre arte porque eu não tenho nenhuma. Preocupações estéticas tiveram um papel menor em minha vida, e eu tenho que rir quando um crítico fala, por exemplo, de minha ‘paleta. Eu acho impossível perder horas em galerias analisando e gesticulando. – Buñuel, Luis ( Meu Último Suspiro) Acho que, em termos de premissa bizarra, Quentix Dupieux jamais conseguirá ultrapassar seu Rubber, o Pneu Assassino, mas Deerskin – A Jaqueta de Couro de Cervo esforça-se para chegar perto e, no final das contas, é mais bem sucedido em sua execução. No filme, um homem compra sua jaqueta de couro de cervo dos sonhos, que não só é de segunda mão, como também tem aquelas franjas à la Davy Crockett, por “meros” sete mil euros e, com a câmera de filmar que ganha de brinde, isola-se em um hotel no meio do nada com lugar nenhum sem um centavo no bolso e começa a usar a desculpa que inventa de ser um cineasta para realizar os sonhos que ele e a jaqueta (sim, ele e a jaqueta…) passam a ter: de aquela ser a única jaqueta do mundo e ele ser o único a vestir a única jaqueta do mundo. Jean Dujardin vive Georges, o tal homem enamorado com sua jaqueta nova que mal cabe nele e que arregimenta o trabalho de Denise ( Adèle Haenel) uma bartender local que diz amar montagem cinematográfica, para produzir sua obra-prima que é o disfarce mal-ajambrado para ele se desfazer de todas as jaquetas do mundo. E, bem ao estilo Dupieux de escrever e filmar, tudo é tratado como se fosse mais um dia qualquer, sem maiores contextualizações ou estranhamentos dentro da narrativa, com a dupla de atores imediatamente funcionando juntos e estabelecendo uma química que, juntamente com a premissa absurdista da obra, carrega o breve filme nas costas. Um dos aspectos que o longa satiriza é a tentativa de se impor significados à arte, mesmo que em alguns casos não exista nenhum, pelo menos nenhum que possa ser racionalizado. E, curiosa e ironicamente, ao fazer isso, Dupieux desafia o crítico de sua arte a racionalizar seu próprio filme sem cair em sua armadilha espertamente armada. No entanto, a tentativa de racionalizar uma criação de terceiros faz parte da natureza humana e ela é sempre válida, como Denise tenta fazer em relação ao pseudo-filme de Georges. E essa meta-brincadeira é parte do recheio saboroso de A Jaqueta de Couro de Cervo, exatamente na mesma linha que o “ no reason ” tem em Rubber. Ao colocar o espectador em uma sinuca de bico, Dupieux, sempre de forma jocosa, lança seu desafio e espera reação, transformando seu Georges em uma versão dele mesmo fazendo seu filme de baixíssimo orçamento em um local ermo tendo como figurino, apenas, a tal jaqueta de “estilo matador”. Para ajudar nessa sensação de que estamos mesmo vendo um filme aleatoriamente tirado da cachola de seu diretor, a escolha da câmera na mão (como é a câmera na mão de Georges) é perfeita, mas com Dupieux tendo o cuidado de não tremer além do estritamente necessário para emular os movimentos desengonçados de seu protagonista que não faz ideia sobre o que é ser cineasta, algo que é revelado em diálogos construídos para serem constrangedores ao limite e que dão a impressão de serem parte roteiro, parte improviso e tudo capturado em um único  take, sem ensaios. E a premissa surreal vai ganhando mais camadas estranhas na medida em que a fixação de Georges por couro de cervo se intensifica até sua metafórica transformação que leva ao final perfeito, irretocável mesmo (e doido varrido, mas com sentido na doideira. Mais uma vez responsável pela montagem de seu próprio filme, Dupieux, aqui, acerta em cheio nesse quesito. Se sentimos uma barriga em Rubber e um completo descontrole em Os Maus Policiais, aqui nada disso acontece. A cadência é constante e os cortes suaves e lógicos que seguram o ritmo e fazem o longa avançar constantemente em uma espiral cada vez mais explícita e louca, com um humor negro de se tirar o chapéu (de couro de cervo, claro) especialmente considerando que Dujardin consegue chegar a um excelente equilíbrio entre seriedade, paródia e auto-consciência do quão ridículo – e triste – é seu personagem. Nunca considerei o ator particularmente brilhante, nem mesmo no badalado O Artista, mas, aqui, Dupieux tira o melhor dele deixando-o criar um personagem memorável em seu silêncio e seu narcisismo. A Jaqueta de Couro de Cervo, com toda sua bizarrice, é um prato cheio para a caça de significados em conversas de bar. E olha, eles estão lá, mesmo que a busca pelos significados em si seja um dos significados possíveis. Mas uma coisa é certa: o espectador nunca mais encarará uma jaqueta de camurça da mesma maneira depois dessa experiência. E nem pás de ventiladores, claro… Deerskin – A Jaqueta de Couro de Cervo (Le Daim, França – 2019) Direção: Quentin Dupieux Roteiro: Quentin Dupieux Elenco:  Jean Dujardin, Adèle Haenel, Albert Delpy, Coralie Russier, Laurent Nicolas, Marie Bunel,  Pierre Gommé, Caroline Piette Duração: 77 min.

Can't remember last time that I saw a movie so stupid. YouTube. Por em 11 de dezembro de 2019 O cinema de Quentin Dupieux é conhecido por ter uma excentricidade absurda. Foi assim com Rubber, filme protagonizado por um pneu, Wrong e Wrong Cops. Seu novo produto, Deerskin – A Jaqueta de Couro de  Cervo mostra Georges, um homem digno de pena,  em crise conjugal (fato que o faz soar solitário) e que procura uma peça de roupa peculiar, uma jaqueta de pele de cervo, que segundo ele, o deixa com um estilo matador. Georges é um homem com claros problemas de tato e relacionamento, e o roteiro não faz questão nenhuma de explicar o porquê dele ser assim. Seu intérprete,  Jean Dujardin está irreconhecível quase, de tão diferente que está, faz um homem que embarca em qualquer mentira para se manter por cima, revelando sua miséria existencial ao dar atenção as vozes que povoam sua cabeça, e ao mentir para as pessoas a sua volta, entre elas, a garçonete Denise, papel de Adèle Haenel. As fantasias que Georges propõe com suas ações se confundem entre possíveis viagens de seu combalido esta mental débil e uma possível interferência espiritual semelhante a que Danny Torrance teve em O Iluminado e Doutor Sono. O quadro vai ficando mais grotesco ( e hilário) com o decorrer do filme, quando ele gradativamente encontra outras peças de pele de cervo. A medida que ele vai se revestindo dessa armadura natural ele vai agindo ainda mais como um estranho que fugiu deu um manicômio, encontrando eco para suas sandices através do viés artístico de um cinema mais lírico e experimental, embora que conduza esse “cinema” não tenha muita noção de como conduzir a arte. Dupieux aposta boas fichas na metalinguagem com a sétima arte e isso dá ainda mais substancia e textura a loucura que Georges acredita ser a realidade e o norte para sua vida. Seus rumos vão fazendo crescer o caráter nonsense, e a quebra de expectativa, que poderia soar forçada, vai sendo cada vez mais magnânima e grandiloquente a medida que se brinca com questões sérias como assassinato em série e psicopatia. As atuações são otimas, sobretudo Dujardin e Haenel e todo o clima provinciano do cenário que povoa os pouco mais de 70 minutos de fita faz toda a trama macabra  soar cada vez mais épica, até o momento do ato final,  com um desfecho que faz valer ate a nomenclatura teatral dr atos para os momentos pontuais da trama. Deerskin é uma pérola do grotesco, não tem medo de ser inusual e aborda dramas típicos da vida adulta como carência e solidão de maneira leve sentimentalmente, e violenta como é a trajetória da humanidade desde que se entendeu por gente. Facebook –  Página  e  Grupo, Twitter, Instagram, Spotify.

La piel de cervolix. La piel de cuervo.

In a role that was made for Jean Dujardin, he acts like he has been doing this for a long time. By 'this' I mean executing an eccentric project that is about to take over his life and muddle his relationship with the world. And by 'the world' I mean the sorry village that his Georges character travels to after buying a vintage jacket made of 100% deerskin which also marks his obsession with it, something that both induces laughter in its audience and also highlights the crazy, primal nature of obsessive compulsion characterized by depression, loneliness, and unconditional enmity against the humankind. I have no words to describe the virulent turn Le daim (Deerskin) takes as Georges laughingly has his way by conspiring with himself to take forward his obsession with his deerskin jacket, which I should add is 'killer style' in his own words. Whether it is the inflated price that he pays for the second-hand jacket or the newfound skill of videography or mistaking a film editor with a creditor, Le daim has been written in a way that is guaranteed to make you laugh every five minutes. The outlandish plot, accentuated by terrific performances by Dujardin and Adele Haenel (who acts with her face and that's enough) and also by the peculiar style of referral writing (where the aftermath of an event in a scene is shown in the following one or the one after that) by director-writer Quentin Dupieux makes this comedy crime drama a blast experience. I can't recommend it more and I am definitely going to be watching more of Dupieux's work. Bravo! TN.
(Watched and reviewed at its India premiere at the 21st MAMI Mumbai Film Festival...

"French absurdist Quentin Dupieux, also known as Mr. Oizo in the music sphere, emerging with his mega-single FLAT BEAT circa the millennium, he is a computer wiz adept in sampling an aleatory style of electronic beats and strains. Starting from directing music videos, his sideline diet of filmmaking has a consistent output since NONFILM (2002) with sui generis quirks like RUBBER (2010) and WRONG (2012) DEERSKIN is his eighth feature, debuted in the Directors' Fornight at Cannes, it is by far his most hyped one, not least by the headliners of Jean Dujardin and Adèle Haenel."
read my full review on my blog: cinema omnivore, thanks.

Message: Sammydress offers a gorgeous selection of affordable and unique clothing, shoes, bags, beauty and accessories. Get your FREE 50 now: click here to get started. Partilhar umCOMO Casa Limpeza da Casa Cuidar e Limpar a roupa Lavar roupa à mão Como lavar uma jaqueta de couro Imagem: Existem algumas peças de roupa que são indispensáveis no nosso guarda roupa, e a jaqueta de couro é uma delas, tanto no guarda roupa feminino como masculino. No entanto, esta peça de roupa tão cobiçada exige alguns cuidados especiais, para conservar, por mais tempo, o brilho do dia em que foi comprada. Não deve colocar este tipo de peças na máquina de lavar e muito menos utilizar produtos químicos para a sua limpeza. Continue lendo este artigo de e saiba como lavar uma jaqueta de couro. Vai precisar de: Pano macio Hidratante para couro Limpador para couro Passos a seguir: 1 Tal como foi dito anteriormente, não deve lavar a jaqueta de couro na máquina de lavar, pois poderia danificá-la. Deverá lavá-la usando apenas um pano úmido. Se estiver muito suja, poderá usar um pano com água morna e sabão neutro. Conseguirá assim, eliminar quaisquer tipos de resíduos, poeiras ou sujidade. 2 Se vir que o pano ficou muito sujo, passe por água e limpe novamente a jaqueta. Lembre-se que o pano deverá estar apenas úmido, tente evitar ao máximo o excesso de água. Não deve encharcar o couro com água, nem mesmo se tiver manchas de mofo. 3 Se mesmo depois de utilizar um pano úmido em água morna e sabão neutro, ainda existirem áreas manchadas, poderá borrifar a jaqueta com limpador de couro e esfregar suavemente com um pano macio. Evite utilizar panos que não sejam macios ou esponjas, pois poderão riscar o couro. 4 Depois de limpar a jaqueta, poderá utilizar um hidratante específico para o couro, que poderá encontrar nas sapatarias. Se não tiver este produto, uma dica que poderá utilizar é um hidratante corporal de cor clara e sem essência forte. 5 Deverá secar a jaqueta de sol ao sol e ao vento. Tenha cuidado e não deixe a jaqueta ao sol nas horas de maior intensidade de calor nem durante muitas horas, pois o excesso de sol poderá desbotar o couro. Se pretende ler mais artigos parecidos a Como lavar uma jaqueta de couro, recomendamos que entre na nossa categoria de Limpeza da Casa. Conselhos Nunca coloque as jaquetas de couro em armários úmidos ou com mofo, nunca as deixe também em plásticos ou capas e não as guarde quando estão úmidas. Escrever comentário sobre Como lavar uma jaqueta de couro vinicius 18/04/2018 Boa noite, minha jaqueta de couro, ficou muito tempo guardada, esta com um cheiro de mofo muito forte, como posso tirar esse cheiro sem danificá-la? Obrigado e aguardo seu retorno. Editor 19/04/2018 Oi Vinicius! Você já testou as dicas do artigo? Jacimar 16/08/2016 Caso estiver necessitando de lavar a forração, qual o procedimento? Marilza 26/07/2016 Após esse processo de limpeza com pano úmido eu posso mergulhar a jaqueta em água para enxaguar. ione salvath santos 27/06/2016 comprei uma jaqueta de couro e veio com um cheiro muito forte horrivel o que fazer Mara 05/01/2016 Meu marido tem uma jaqueta de couro nabuco que tá muito suja, como faço pra puder me ajudar agradeço! Ricardo 12/12/2015 Como lavar e identificar quando e couro Talita 06/07/2016 Preferencialmente, lavar com detergente neutro ou sabão liquido para roupas delicadas. Esfregar levemente com as mãos, jamais em máquinas, pois danifica o couro. Importante tira todo o resíduo de sabão, enxaguar bastante, pode apenas centrifugar e colocar para secar ao avesso quando exposto ao em um cabide. Depois de seca, hidratar com um produto especifico para couro que você encontra em sapatarias ou lojas voltadas para artigos deste porte. Silvana Monteiro 14/11/2015 Obrigada pelas dicas, só faltou uma explicação, sobre como se faz com a parte de dentro da jaqueta. Bjs sheila 06/09/2015 E como se lava por dentro? Afinal, mesmo no frio, a pessoa transpira, tem o cheiro de perfume, e ainda o odor de roupa guardada muito tempo. O artigo ficou devendo muito. Fraco, fraco anna jacy duarte scherer 08/08/2015 foi de muita utilidade o artigo, Pois livrou-me de colocar as jaquetas na maquina de lavar Monica Roratto 29/07/2015 E quando a maquete estiver suja por dentro na parte de tecido? Voltar ao topo da página.

A Jaqueta de Couro de Cervo Vídeos Créditos Críticas dos usuários Críticas da imprensa Críticas do AdoroCinema Fotos Filmes Online notar: 0. 5 1 1. 5 2 2. 5 3 3. 5 4 4. 5 5 Vou ver Escrever minha crítica Sinopse e detalhes Quando Georges (Jean Dujardin) encontra uma fascinante jaqueta de camurça, sua vida muda completamente, de um dia para o outro. A vestimenta passa a ser sua principal obsessão e o leva até uma jornada de possessividade, ciúmes e comportamento psicótico. Quando menos percebe, Georges se tornou uma outra pessoa.  Classificação indicativa a definir por Distribuidor California Filmes Ver detalhes técnicos Críticas AdoroCinema Certo dia, Georges (Jean Dujardin) observa o próprio casaco de veludo no reflexo do carro. Ele passa a detestar o tecido. Corre até o banheiro, arranca a peça de roupa e a joga na privada num gesto de desespero. Então, o alívio. Georges respira de novo. Na cena seguinte, paga um preço exorbitante por uma jaqueta de camurça de segunda mão. Agora ele é um homem novo. O diretor Quentin Dupieux filma estas cenas como se o protagonista estivesse cometendo um assassinato brutal, e depois adquirisse uma nova identidade para fugir à polícia. O projeto começa apresentando cenas banais no estilo de um crime para, em seguida, retratar crimes reais com aparência de banalidade. A jaqueta de camurça, personagem principal deste filme, nunca é apenas uma peça de vestuário. O cineasta sempre demonstrou o prazer pelas comédias absurdas, seja humanizando objetos (o pneu assassino de Rubber) seja confe... Ler a crítica Trailer 1:11 Elenco Ficha completa 10 Fotos Curiosidade das filmagens Quinzena dos Realizadores Filme de abertura da 51ª edição da Quinzena dos Realizadores. Últimas notícias Se você gosta desse filme, talvez você também goste de... Mais filmes similares Comentários.

12 ANOS 77 minutos Direção Quentin Dupieux Título original Le daim Gênero: Ano: 2019 País de origem: França Sinopse Georges encontra uma rara jaqueta de camurça e sua vida muda completamente. A vestimenta passa a ser sua principal obsessão e o leva até uma jornada de possessividade, ciúmes e comportamento psicótico. Quando menos percebe, Georges se tornou outra pessoa. Ou será que sua personalidade real aflorou? Crítica Estranho é pouco. Deerskin: A Jaqueta de Couro de Cervo é uma produção francesa bastante peculiar, isso para dizer o mínimo. O protagonista é Georges ( Jean Dujardin) sujeito solitário capaz de comprar uma peça démodé por mais de 7000 euros. Não dá para saber com exatidão o motivo do interesse pela vestimenta que lhe extasia como nada. Os primeiros momentos do filme, puramente de contexto, são um tanto modorrentos, com esse estranho se aclimatando à pequena localidade na qual aparentemente se exila após uma separação traumática. O único diálogo, ao telefone, com a ex-exposa dá o tom dessa animosidade residual. Mas, no fim das contas, a conjuntura é descartável, pois o cineasta Quentin Dupiex se foca na relação excêntrica do homem com a japona (feia, aliás. Da euforia por possui-la, ele passa a um estado de companheirismo literal. Os dois “conversam” e criam "juntos" planos mirabolantes para exterminar as demais jaquetas do mundo. Apenas quando entra em cena a garçonete/montadora Denise ( Adèle Haenel) – cujos autointitulados feitos se resumem a ter reeditado amadoristicamente Pulp Fiction (1994) colocando-o na ordem cronológica – é que o filme consegue ultrapassar a pura esquisitice para lançar mão de questões instigantes. Georges coloca na cabeça, talvez nesse caminho de reinvenção que sobrevém ao divórcio, que é um cineasta em processo de realização de algo decente. Ele sai gravando paisagens aleatoriamente, registrando o amor por sua jaqueta orgulhosamente feita cem por cento com couro de cervo. Denise, por sua vez, aparentemente cai no conto do vigário e aceita emprestar-lhe dinheiro para a sequência das filmagens "interrompidas" em virtude da falta de comunicação com produtores inexistentes numa inventada rodagem de segunda unidade na Sibéria. Uma pena que o longa não se aprofunde nas pessoas, nos contratos que ambas aceitam ou propõem por absoluta solidão. Todavia, há um ganho substancial quando Deerskin: A Jaqueta de Couro de Cervo soma ao nonsense uma faceta próxima ao trash. Georges vira matador, cada vez mais vestido de couro de cervo, numa obsessão que ganha ares patéticos e, por isso, próprios à comédia. Além disso, usa uma das pás do ventilador para fazer vítimas e registrar tudo em sua câmera. Há um óbvio deleite nesse processo de apropriação dos códigos dos filmes B, algo que Quentin Dupiex já tinha demonstrado em Rubber: O Pneu Assassino (2010) no qual o protagonista é um pneu que sai matando pessoas com seus poderes telecinéticos, isso antes de se sentir atraído por uma jovem. Nessa seara o cineasta demonstra um domínio bem maior que em outras. Exemplo disso é que cenas fetichistas, tais como a afiação da arma no asfalto, funcionam muito mais do que a lenga-lenga encarregada de desenhar um pano de fundo à personalidade singular desse homem tarado por camurça. A se lamentar, também, que o interesse de Denise por aquelas imagens “cruas, selvagens” não se configure numa abertura eficiente à sinalização do cinema como forma de registro e/ou representação. Deerskin: A Jaqueta de Couro de Cervo é mais curioso do que necessariamente bem-sucedido, em parte por conta desses desperdícios que vão se acumulando, noutra em virtude de uma morosidade até chegar ao que lhe define melhor. Adèle Haenel dá conta de criar uma coadjuvante importante, especialmente por fazer às vezes de única testemunha dos esforços cinematográficos de George. Ele, por sua vez, é interpretado com o carisma de sempre por Jean Dujardin, mantendo-se geralmente insondável e imprevisível, numa composição que assinala características essenciais para que “compremos” os absurdos que desfilam pela telona. Há cenas impagáveis, como a recuperação da aliança do morto. Porém, o saldo é mediano, com coisas boas e ruins de alternando. As duas abas seguintes alteram o conteúdo abaixo. Bio Últimos Posts Jornalista, crítico de cinema e membro da ABRACCINE (Associação Brasileira de Críticos de Cinema. Ministra cursos na Escola de Cinema Darcy Ribeiro/RJ e no Sesc/RJ. Participou como autor dos livros "100 Melhores Filmes Brasileiros" 2016. Documentários Brasileiros – 100 filmes Essenciais" 2017) e "Animação Brasileira – 100 Filmes Essenciais" 2018. Editor do Papo de Cinema.

La piel de cervoise. As jaquetas de couro são peças chave no armário de qualquer pessoa: além de transporem muita elegância quando combinadas com looks sociais, também é… As jaquetas de couro são peças chave no armário de qualquer pessoa: além de transporem muita elegância quando combinadas com looks sociais, também é possível lançar mão de um visual mais despojado ao usá-las até mesmo com as roupas do dia-a-dia. Saiba como escolher sua jaqueta de couro ideal Seu advento na moda culminou nas décadas de 50 e 60, quando a juventude rebelde adotou essa peça baseando-se no estilo dos antigos motoqueiros. Portanto, quem era detentor de um espirito revolucionário e queria sair da casualidade, deveria apostar em uma jaqueta de couro combinada com as  calças jeans desfiadas ou demais roupas personalizadas. Inove o seu visual sabendo mais sobre como desfiar o jeans. As jaquetas permanecem com tudo nos dias atuais Hoje em dia, usar jaquetas de couro nunca sai das grandes tendências da moda de Inverno e os modelos são cada vez mais diferentes e ousados – trata-se de uma aposta que veio para ficar definitivamente no visual de muitas pessoas. Por isso, na hora de comprar a sua peça, todos os cuidados são necessários para saber como escolher a ideal. Saiba mais: Como escolher uma jaqueta de couro A maioria das pessoas se detém à estética da jaqueta ou das demais peças de roupas, porém a atenção deve ser tomada em todos os seus aspectos. Observe detalhadamente o seu produto antes de comprá-lo Primeiramente inicie observando a qualidade do tecido, como também o seu revestimento. Como o couro possui um cheiro característico, devemos nos certificar se estamos realmente adquirindo um item legítimo. Feito, repare bem nas costuras de sua jaqueta de couro, a fim de notar se o produto não possui um mau acabamento ou excesso de forros e tecidos. Caso haja, o desconforto será inevitável. No provador O fator de peso antes de tomar qualquer decisão deve ser o conforto, portanto não economize nos movimentos: abra os braços, feche-os, sente-se e simule ações diárias para observar se a numeração ou o modelo de jaqueta de couro escolhido é adequado para o seu corpo. Não economize nos movimentos na hora de escolher a sua peça Ao escolher uma jaqueta de couro, tanto os homens como as mulheres devem reparar se a sua costura é rente aos ombros, visto que a função desta peça de roupa é valorizar a postura e dar mais forma ao corpo. Com essas pequenas dicas você poderá usufruir de uma peça durável, que certamente inovará o seu guarda-roupas. Veja também alguns modelos de j aqueta aviador e prepare-se para inovar neste Inverno.

La piel de cervo. A Jaqueta de Couro de Cervo Vídeos Créditos Críticas dos usuários Críticas da imprensa Críticas do AdoroCinema Fotos Filmes Online Curiosidades Bilheterias Filmes similares Notícias Certo dia, Georges ( Jean Dujardin) observa o próprio casaco de veludo no reflexo do carro. Ele passa a detestar o tecido. Corre até o banheiro, arranca a peça de roupa e a joga na privada num gesto de desespero. Então, o alívio. Georges respira de novo. Na cena seguinte, paga um preço exorbitante por uma jaqueta de camurça de segunda mão. Agora ele é um homem novo. O diretor  Quentin Dupieux filma estas cenas como se o protagonista estivesse cometendo um assassinato brutal, e depois adquirisse uma nova identidade para fugir à polícia. O projeto começa apresentando cenas banais no estilo de um crime para, em seguida, retratar crimes reais com aparência de banalidade. A jaqueta de camurça, personagem principal deste filme, nunca é apenas uma peça de vestuário. O cineasta sempre demonstrou o prazer pelas comédias absurdas, seja humanizando objetos (o pneu assassino de Rubber) seja conferindo importância desproporcional a fatos corriqueiros (a acusação infundada em Au Poste. Desta vez, ele propõe uma síntese dessas abordagens, personalizando a camurça enquanto transforma uma mentira (o falso filme que Georges afirma estar preparando) num projeto de consequências fatais. O humor se encontra na subversão das proporções e do tom, investindo no ridículo deste suspense crescente sobre um homem obcecado pela nova jaqueta. O recurso poderia soar superficial, porém Dupieux impressiona pelo refinamento de sua abordagem. Primeiro, a roupa se torna um excelente símbolo para descrever a personalidade deste homem mitômano, sem dinheiro, abandonado pela esposa e sem profissão. A jaqueta se transforma num elemento de controle, uma vida nova que constrói a si mesmo, uma maneira de fugir instantaneamente à dor do abandono representada pela blusa anterior. Seria simplório considerar Georges um louco qualquer: ele corresponde à figura do macho abandonado, sem qualidades profissionais ou morais, e dependente do status e da imagem para se construir enquanto indivíduo. Talvez por isso ele pratique com tamanha facilidade uma série de assassinatos comandados pela persona da jaqueta: Georges não se importa com ninguém, tampouco nutre sentimentos por suas vítimas. Ao mesmo tempo, a jaqueta se torna um objeto de culto e de erotismo: o único momento de tensão sexual ocorre ao encostar a pele na camurça que aos poucos toma conta de sua mente e seu corpo (cobrindo os pés, a cabeça, as pernas. Quando uma mulher oferece seu corpo ao homem solitário, e outra jovem solitária aparenta estar disponível, Georges ignora o apelo: apenas a obsessão o move. É interessantíssimo o modo como Dupieux filma a humanização do casaco em paralelo com a objetificação do protagonista. Nas conversas entre ambos, inicialmente vemos o protagonista criando a voz fantasma da jaqueta, até os enquadramentos tirarem Georges de cena e a voz emanar diretamente do tecido, em off. Em paralelo, quanto mais camurça coloca em seu corpo, mais frágil o protagonista se torna. Deerskin desenvolve, através de pouquíssimos personagens e uma atmosfera de fábula infantil, um curioso jogo de poderes. Quem controla quem, entre Georges e a jaqueta? Quando Denise ( Adèle Haenel) entra na equação, fornecendo dinheiro para o suposto filme do amigo, quem se tornará o verdadeiro diretor? Nesta história sangrenta sobre a busca desesperada de dois solitários por um sentido na vida, o roteiro consegue fazer com que a jaqueta, no final, se sobreponha a todos. Mesmo quando parece não se desenvolver, o roteiro encontra uma maneira de unir as histórias paralelas da roupa e do filme-dentro-do-filme, atando todas as pontas soltas (a vizinha pela janela, o garoto silencioso) de modo catártico e plenamente funcional em termos narrativos. Por trás da brincadeira de aparência inconsequente, o diretor demonstra um domínio estético e narrativo precioso, além de refinar um gesto autoral que vem construindo desde as primeiras obras. Cada silêncio, cada enquadramento levemente fluido constrói uma espécie de humor improvável, que nasce da linguagem cinematográfica ao invés de piadas fáceis ou diálogos espirituosos. Por trás das risadas nervosas ou do aceno à loucura existe uma angústia existencial que une perfeitamente o humor ao terror. Filme visto no 72º Festival Internacional de Cinema de Cannes, em maio de 2019. As últimas críticas do AdoroCinema Comentários.

La piel de cuervos. La piel de cierto.

 

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