Still from 'Utamaro and His Five Women' (歌麿をめぐる五人の女 Utamaro o meguru gonin no onna), 1946, directed by Japanese filmmaker Mizoguchi Kenji (溝口 健二, 1898 – 1956). https://youtu.be/fiCbo9d1Q_4
It is based on the novel of the same title by Kanji Kunieda, itself a fictionalised account of the life of printmaker Kitagawa Utamaro (喜多川 歌麿; c. 1753 – 1806), one of the most highly regarded designers of ukiyo-e woodblock prints and paintings, who was best known for his bijin ōkubi-e (large-headed pictures of beautiful women) of the 1790s. He also produced nature studies, particularly illustrated books of insects.
我所知道的永井荷風（1879年－1959年）
我所知道的永井荷風（1879年－1959年）： 真誠的告白：永井荷風套餐 vs星雲大師 (~2023)；永井荷風相關的書：五六本日文原著，十幾本中文書； Wiki 及網路.....
https://www.facebook.com/hanching.chung/videos/760597118385882
永井荷風：永井久一郎Nagai Kyūichirō,（父之恩 《來青閣集》十卷 1913）鄭清茂 2022年論文集。江戶朝文藝； 法文詩日譯《珊瑚集 》........； 和日本文豪一起漫遊老東京 跟著永井荷風散步淺草、銀座、築地、月島、麻布…… 作 者： 永井荷風
https://www.facebook.com/hanching.chung/videos/440235468250431
就等您來....
你可以讓自己在一座大城市中銷聲匿跡或消失無蹤，甚至可以隱姓埋名，過新生活。你可以致力於探訪某人踪跡的長期調查，從偏遠街區的一兩個地址開始查起。有時會出現在搜尋記錄上的簡短說明「最後已知居住地」總於我心有戚戚焉。這些消失、身份、時光流逝的主題與大城市地誌有著密切關聯。所以大城市才會自十九世紀以來，經常都是小說家的專長所在，其中最偉大的幾位都跟某座城市相連：巴黎之於巴爾扎克，倫敦之於狄更斯，聖彼得堡之於陀思妥耶夫斯基，東京之於永井荷風，斯德哥爾摩之於亞爾馬．索德伯格（Hjalmar Söderberg）。~~~莫迪亞諾之諾貝爾文學獎演講
Patrick Modiano 蒙迪安諾訪談(紐約時報：Good Books Make Good People：感動你的書讓你更敏感，更良善。書的道德功能) “
一個黯淡的人形”：
莫迪亞諾Patrick Modiano作品節選
Patrick Modiano 蒙迪安諾訪談(紐約時報：Good Books Make Good People：感動你的書讓你更敏感，更良善。書的道德功能) “一個黯淡的人形”：莫迪亞諾Patrick Modiano作品節選； 諾貝爾文學獎百年一瞥
Patrick Modiano 蒙迪安諾訪談(紐約時報：Good Books Make Good People：感動你的書讓你更敏感，更良善。書的
--
林皎碧
老師，您把題目弄得很大喔～，我的部分只是分享自己讀永井荷風《日和下馱》的心得而已。
---
林皎碧送的2017年雜誌《東京人》頁84~85 是永井荷風法國篇，除了介紹Patrick Modiano 蒙迪安諾的演講說法，有張照片書店照片，介紹永井荷風四本小說的法文翻譯
1.1937: A Strange Tale from East of the River (濹東綺譚, Bokutō kidan)
2.1931: During the Rains (つゆのあとさき, Tsuyu no atosaki)
3. 雨蕭蕭
4.1911: The River Sumida (すみだ川, Sumidagawa)
****
「永井荷風《日和下駄》」，
林皎碧
一晃十年過去，縱使用心閱讀、苦心翻譯的文章，除了幾個印象深刻的場景，忘了也差不多了。昨晚輕率答應的事，一覺醒來突然覺得自己瘋了嗎？遊惰好幾年，已養成亂讀亂寫的遊戲心態，若想正經做事一切都要從頭開始。
・
我並不是在課堂上認識永井荷風這位作家，而是跟農學部同學探望她的退休老師時，老師提到最近在讀永井荷風，那是我第一次知道「永井荷風」這位作家，才開始關注他，最早讀的當然就是《日和下駄》。
・
2012年出版社找我翻譯《日和下駄》，我感到很驚訝，那時候大部分台灣讀者對永井荷風應該不是那麼熟悉，書到底賣不賣得出去？編輯卻說很想出這本書，找過幾位譯者，因為有困難，最後才找上我，拜託我一定要接這案子。
・
因為是專攻日本文學，比起流行刊物或雜文，翻譯文學作品讓我更有使命感。另外弟弟也喜愛永井荷風，很希望我翻譯《日和下駄》，就決定由弟弟寫介紹文，我除了翻譯外，再寫一篇譯後記，那是姐弟第一次合作的書。
・
2017年雜誌《東京人》為永井荷風做特輯，沒想到台灣翻譯永井荷風的第一人是我（？），欣然接受採訪，那是我第二次接受日本記者採訪，前一次則是在姬路接受朝日新聞採訪有關石川啄木的短歌。這一次怎又是永井荷風呢？這位不良老人怎麽總是陰魂不散出現在我周邊呢？
・
不過是這樣，我阿嬤說：「允人較慘欠人」，既然答應我就全力以赴，但是不保證完美演出啦。
***
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When 'Japan's Art Opened to Western Winds
''PARIS IN JAPAN: The Japanese Encounter With European Painting''
For example, as the West looks to the East for a holistic model that can provide an alternative to the fragmentation of Western life, Mr. Rimer writes that the novelist Nagai Kafu (1879-1959) found his holistic model in France. For Nagai, Mr. Rimer says, French civilization had a ''wholeness, a comprehensiveness'' that could give ''resonance to the simplest activities of daily life.'' Nagai felt Japanese wholeness disappeared in what Mr. Rimer describes as a ''rush to amalgamate Eastern and Western experiences.''
It is also useful to learn that in the same century in which many French artists were drawn to the exoticism of the East, many Japanese were drawn to the exoticism of France. For the Japanese, Mr. Rimer says, ''A trip to France was the premier intellectual and spiritual adventure of the period.''
At a time when Westerners are attracted to Oriental art because of its suppression of ego, its commitment to something beyond the self, Mr. Rimer writes that Japanese artists were attracted to precisely the heroic individualism that many Westerners are trying to get away from. They believed that only a heroic effort could deal with the conflicts of the modern world, with its disjunctive relationship between past and present. For the Japanese, Mr. Rimer says, Cezanne and van Gogh were paragons ''that would be needed in Japan if she were to develop her own authentically modern culture.''
***2/2
《東京人》( 390期( 2017.12 )
由目錄可知
它是最好的
永井荷風（1879年－1959年）討論會 2月10日參考資料 ：可鳥瞰荷風作品、研究、展覽的引介
特集
永井荷風
愛すべき散歩者
断腸亭日乗から１００年
写真・尾田信介
「ふらんす物語」
憧れが「現実」に侵されていく様も、美しい
文・林文子 16
奇跡の遭遇 『ふらんす物語』
荷風旧蔵発禁本と自筆原稿
文・川島幸希 17
「日和下駄」
無為に歩くのがいい
文・大竹昭子 20
「腕くらべ」
斎整の美がある荷風の濡絵
文・岩下尚史 24
永井荷風 略年譜 26
荷風の背中を追いかけて、
『断腸亭日乗』を歩く
銀座／浅草／荒川放水路／小石川／新宿／市川
文・壬生篤 32
私家版『濹東奇譚』から読む
写真家荷風の視線 50
知られざる荷風、思考の跡をたどる
文・木部与巴仁
新発見！晩年の創作ノート
文・川島幸希 52
快楽を肯定する
ひかげの女たち
文・川本三郎 58
武士道と少女道
文・持田叙子 66
二つの異なる江戸文化
理想を求めた荷風、現実との狭間で葛藤した阿部次郎
文・渡辺憲司 72
同時代を生きた、森鷗外、与謝野鉄幹、谷崎潤一郎ほか
物事の本質を捉え、
自らの信条を貫き通した人生
文・森まゆみ 78
外国での読まれ方
フランス篇
文・石川美子 84
台湾篇
『荷風の東京散策記』訳者 林皎碧さんに聞く
文・黒羽夏彦86
若い世代は荷風をどう読んでいるか
谷口晃平DMM GAMES プロデューサー
岩波書店に聞く、荷風全集と岩波文庫
文・南陀楼綾繁84
荷風をもっと知るためのブックガイド
【生き方】【町歩き】【文筆家】
文・木部与巴仁 91
市川市文学ミュージアム所蔵「荷風コレクション」寄贈者
近藤邦男さんに聞く
〝荷風愛〞が積もり積もって半世紀
文・壬生篤 96
市川市文学ミュージアム企画展
永井荷風展 荷風を見つめた女性たち
荷風に息吹を与えられた女性たち 文・柳澤真美子 102
先付 春夏秋冬 雪待月 20 たく庵
柚子塩むすびと焼豚
文・瀬川慧写真・大山裕平 3
東京点画
とっさの一言
文・原田國男 7
つくる場所、つくられる場所
文・田尻久子 8
「世間師」気取り
文・清水英明 9
曇天記 10
神の径の先に見えるもの
文・堀江敏幸
写真・鈴木理策 104
ちょいとごめんなさいよ、四時からの悦楽86
新橋「DRY―DOCK」の巻
最初の一杯を飲むための航海
文・林家正蔵
写真・川上尚見 106
赤坂人物散歩 8 今宵ホッピーをこの店で！
日本銀行、東京駅など近代の名建築を手がけた建築家
辰野金吾
文・後藤隆基 110
東京芸術劇場「朗読東京」
物語を、聴覚で旅する３日間
文・大谷みさ子 116
まちの仕掛け人たち28
国立市谷保 ＮＰＯ法人くにたち農園の会
都市農地を、地域の「居場所」にする！
文・金丸裕子 122
没後四十五年 短期連載 第一回
都市観察者、明治から昭和の東京を生きて
鏑木清方「下町」への視線文・谷口榮 124
東京つれづれ日誌90
左沢線で訪ねるふたつの町
文・川本三郎 142
Close up TOKYO
Interview
清泉女子大学文学部文化史学科教授
山本 勉 １３３
Books 本
書評同人
五十嵐太郎、苅部 直、平松洋子 １３４
今月の東京本 １３７
Culture １３８
映画・美術・舞台・古典芸能
City 街 １４０
New Open New Sight
東京ネットワーク
SHOPS＆GOODS １２０
バックナンバー １２２
編集後記、次号予告 １４６
FUJISAN.CO.JP
****2.3
簡說 永井荷風的"歌磨女郎" (浮世繪Kitagawa Utamaro 及文)，小說『濹東綺譚Bokutō Kidan』A Strange Tale from East of the River；『腕くらべ 』RIVALRY: A GEISHA'S TALE《各顯神通》/《較量》
簡說 永井荷風的"歌磨女郎" (浮世繪Kitagawa Utamaro 及文)，小說『濹東綺譚Bokutō Kidan』A Strange Tale from East of the River；『腕くらべ 』RIVALRY: A GEISHA'S TALE《各顯神通》/《較量》
https://www.facebook.com/hanching.chung/videos/591804082276183
永井荷風的"歌磨女郎"，小說『濹東綺譚』；『腕くらべ 』RIVALRY: A GEISHA'S TALE
"歌磨女郎"是永井荷風1911年看"帝室博物館"古板畫有感三篇之
喜多川 歌麿（Kitagawa Utamaro 、1753年頃? - 1806年 ）
一
我無法確知他的文字指的是那些畫.....
***
- A Strange Tale from East of the River (『濹東綺譚, Bokutō Kidan, 1937)
A Strange Tale from East of the River (濹東綺譚, Bokutō Kidan, 1937)
中文翻譯『濹東綺譚』收入：『永井荷風選集』陳薇譯，北京：作家出版社，1999，193~280
譚晶華 《濹東趣譚》收入《濹東綺譚--永井荷風小說選》上海三聯，2012，259~354
鮑耀明也有『濹東綺譚』的中譯本，可惜出版資料不全
『濹東綺譚』上海三聯 2012 第一頁就有打字錯誤
『濹東綺譚』末的"贅言"一章，很精彩，寫一位不遇的摯友神代種亮 (1883~1935，校對之神)
隨便可以舉『紅樓夢』的一首秋窗風雨夕，恨自己無法(力不從心)日譯：
作者：佚名
小說中，林黛玉病臥瀟湘館，秋夜聽雨聲淅瀝，燈下翻看《樂府雜稿》，見有《秋閨怨》、《別離怨》等詞，“不覺心有所感，亦不禁發於章句，遂成《代別離》一首，擬《春江花月夜》之格，乃名其詞曰《秋窗風雨夕》。”《春江花月夜》系初唐詩人張若虛所作，是一首寫離愁別恨的歌行。這首詩在格調和句法上都有意模仿它。“代別離·秋窗風雨夕”，前者是樂府題。代，如同“擬”，仿作的意思。用“代”字的樂府題，南朝詩人鮑照的集中特多。一般情況下，樂府詩不另外再加...
代別離·秋窗風雨夕
朝代：清代
作者：曹雪芹
原文：
秋花慘淡秋草黃，耿耿秋燈秋夜長。
已覺秋窗秋不盡，那堪風雨助淒涼！
助秋風雨來何速？驚破秋窗秋夢綠。
(抱得秋情不忍眠，自向秋屏移淚燭。
淚燭搖搖爇短檠，牽愁照恨動離情。
誰家秋院無風入？何處秋窗無雨聲？
羅衾不奈秋風力，殘漏聲催秋雨急。
連宵脈脈復颼颼，燈前似伴離人泣。
寒煙小院轉蕭條，疏竹虛窗時滴瀝。
不知風雨幾時休，已教淚灑窗紗溼。)
已覺秋窗秋不盡，那堪風雨助淒涼！
助秋風雨來何速？驚破秋窗秋夢綠。
(抱得秋情不忍眠，自向秋屏移淚燭。
淚燭搖搖爇短檠，牽愁照恨動離情。
誰家秋院無風入？何處秋窗無雨聲？
羅衾不奈秋風力，殘漏聲催秋雨急。
連宵脈脈復颼颼，燈前似伴離人泣。
寒煙小院轉蕭條，疏竹虛窗時滴瀝。
不知風雨幾時休，已教淚灑窗紗溼。)
作者：佚名
小說中，林黛玉病臥瀟湘館，秋夜聽雨聲淅瀝，燈下翻看《樂府雜稿》，見有《秋閨怨》、《別離怨》等詞，“不覺心有所感，亦不禁發於章句，遂成《代別離》一首，擬《春江花月夜》之格，乃名其詞曰《秋窗風雨夕》。”《春江花月夜》系初唐詩人張若虛所作，是一首寫離愁別恨的歌行。這首詩在格調和句法上都有意模仿它。“代別離·秋窗風雨夕”，前者是樂府題。代，如同“擬”，仿作的意思。用“代”字的樂府題，南朝詩人鮑照的集中特多。一般情況下，樂府詩不另外再加...
****
- Geisha in Rivalry (腕くらべ, Ude Kurabe, 1916-1917)
『腕くらべ 』
英文RIVALRY: A GEISHA'S TALE
有法文翻譯本等
中文： 譚晶華 《各顯神通》收入《濹東綺譚--永井荷風小說選》上海三聯，2012，39~166
陳微《較量》收入《永井荷風選集》北京：作家出版社，1999，1~160
[BOOK REVIEW] 'Rivalry' of the steamy and sensitive variety
'Rivalry: A Geisha's Tale,' the first English translation of the classic Japanese novel's full text, is nostalgic and honest about the early 20th-century performers
By Bradley Winterton / CONTRIBUTING REPORTER
RIVALRY: A GEISHA'S TALE
By Nagai Kafu
Translated by Stephen Snyder
165 pages
Columbia University Press
Much of Asia can still be rightly described as displaying a "massage culture." Sex, nominally disguised as massage, is offered by the attractive but impecunious young to the better-off males in establishments that have, to local eyes, nothing disreputable about them. European men discovered this age-old phenomenon with a sense of disbelief - its equivalents had long been banished, certainly in Anglo-Saxon countries, under the various manifestations of Puritanism. Thailand went on to built a tourism industry on its immemorial leisure-time habits, while in Japan the ancient structures were modified only by the arrival of general affluence. This has led to nostalgia there for the old ways, and in particular a fascination with the lifestyle and traditions of the geishas.
Rivalry: A Geisha's Tale, fresh from Columbia University Press in an English version by Stephen Snyder, is the first ever translation of the full text of the masterpiece of the early 20th century novelist and short-story writer Nagai Kafu. An earlier translation was only of a commercial edition that didn't include long erotic passages added later by the author for a private printing - he knew in advance that they'd be unacceptable to the government censor.
Nagai Kafu is a fascinating figure. Originally an editor of literary magazines specializing in the newly-fashionable French naturalism, he abandoned that work in order to embark on a life investigating Tokyo's erotic underworld. This was partly done, no doubt, for its own sake, but it was also undertaken in a spirit of devotion to the ethos of the old, pre-modern Japan, the traditions of which Kafu felt were in part preserved in the teahouses and theaters around which the geishas and other women of the night circulated.
Rivalry is a wonderful novel, with clearly distinguished characters, a swift narrative style, rich descriptions and incisive analyses of feelings and motives. It's set around 1912, and evokes a capital city already equipped with telephones, newspapers, cigarettes and trams. There are stockbrokers, new sessions of parliament and year-end sales. But still defining the life in the pleasure quarters are the ways of the Edo period which had ended over 40 years before, so that geishas continue to preside over the tea ceremony, dress with astonishing formality, and entertain rich businessmen, initially at least with performances on the shamisen.
Kafu understands perfectly well that differences of money, and hence of power, lie behind the sexual games his characters play. The geishas are contracted to the houses they work out of, and one of their main ambitions is to find a patron who will pay off this debt and set them up in financial independence. But at the same time they are young and sensual beings, falling in love with kabuki actors of their own age even while conducting by no means platonic affairs with their older clients. This is part of the rivalry of the title, and it's the main character's love for a young actor that triggers the fury of her patron, Yoshioka, even though he's by this time become tired of their sexual relationship and is looking around for new pleasure elsewhere.
It's strange that a novel as good as this has remained unpublished in English in its complete form for so long. It's true that for many decades after the extended edition was published in Japan (in 1917) passages from it would not have been permitted in, for instance, the UK. There are by no means disapproving references to oral and anal sex, for example, and the writing in general has an open-mindedness about it that is extremely refreshing. Even so, it has been through Arthur Golden's 1997 bestseller Memoirs of a Geisha - also a novel, though cast as an autobiography - that most modern readers have gotten to know about the geisha traditions. Kafu's older classic, by contrast, will please aesthetes and lovers of genuine literature far more.
Rivalry: A Geisha's Tale, fresh from Columbia University Press in an English version by Stephen Snyder, is the first ever translation of the full text of the masterpiece of the early 20th century novelist and short-story writer Nagai Kafu. An earlier translation was only of a commercial edition that didn't include long erotic passages added later by the author for a private printing - he knew in advance that they'd be unacceptable to the government censor.
Nagai Kafu is a fascinating figure. Originally an editor of literary magazines specializing in the newly-fashionable French naturalism, he abandoned that work in order to embark on a life investigating Tokyo's erotic underworld. This was partly done, no doubt, for its own sake, but it was also undertaken in a spirit of devotion to the ethos of the old, pre-modern Japan, the traditions of which Kafu felt were in part preserved in the teahouses and theaters around which the geishas and other women of the night circulated.
Rivalry is a wonderful novel, with clearly distinguished characters, a swift narrative style, rich descriptions and incisive analyses of feelings and motives. It's set around 1912, and evokes a capital city already equipped with telephones, newspapers, cigarettes and trams. There are stockbrokers, new sessions of parliament and year-end sales. But still defining the life in the pleasure quarters are the ways of the Edo period which had ended over 40 years before, so that geishas continue to preside over the tea ceremony, dress with astonishing formality, and entertain rich businessmen, initially at least with performances on the shamisen.
Kafu understands perfectly well that differences of money, and hence of power, lie behind the sexual games his characters play. The geishas are contracted to the houses they work out of, and one of their main ambitions is to find a patron who will pay off this debt and set them up in financial independence. But at the same time they are young and sensual beings, falling in love with kabuki actors of their own age even while conducting by no means platonic affairs with their older clients. This is part of the rivalry of the title, and it's the main character's love for a young actor that triggers the fury of her patron, Yoshioka, even though he's by this time become tired of their sexual relationship and is looking around for new pleasure elsewhere.
It's strange that a novel as good as this has remained unpublished in English in its complete form for so long. It's true that for many decades after the extended edition was published in Japan (in 1917) passages from it would not have been permitted in, for instance, the UK. There are by no means disapproving references to oral and anal sex, for example, and the writing in general has an open-mindedness about it that is extremely refreshing. Even so, it has been through Arthur Golden's 1997 bestseller Memoirs of a Geisha - also a novel, though cast as an autobiography - that most modern readers have gotten to know about the geisha traditions. Kafu's older classic, by contrast, will please aesthetes and lovers of genuine literature far more.
There's a long-standing tradition among Japan specialists of insisting that geishas were high-class entertainers most of whom would never allow the men they entertained to lay a finger on them. This is a long way from Kafu's view, and he was in an ideal position to know. Indeed, the description of one particularly outrageous senior geisha, Kikuchiyo, is so replete with sexual detail that I had to read it twice before I could believe my eyes.
But Kafu was no smut-peddler. At heart he was a lover of ancient Chinese poetry, like the writer Kurayama Nanso in the novel. Indeed, one of the characters he mocks most vigorously is Yamai, the editor of a new magazine specializing in pornographic photos. But then one of the attractions of this wonderful book is its range, even given its relative brevity and concision. There are as many different types of character, and of emotion, as there are in Tolstoy, even though Kafu's true masters were probably Maupassant and Turgenev, social realists with a sympathetic eye for subtleties of situation and nuances of feeling.
Kafu was an aesthete fascinated by sex, and predictably he had his own theory of desire. Whereas men of old sought to prove their masculinity in war or hunting, in the modern world they seek to do it by success in the fields of business and sexual predation. Yoshioka is his prime example of this, a handsome married man possessed of "an endless repertoire of obscene tricks," adept at concluding affairs, and endlessly seeking out new conquests "from girls of sixteen to women past forty." He finally finds his match in the frankly sensual Kikuchiyo.
Stephen Snyder is to be thanked both for translating this half-forgotten novel at all, and for doing it so compellingly. He is, incidentally, also the author of a critical book on Kafu entitled, appropriately enough, Fictions of Desire.
But Kafu was no smut-peddler. At heart he was a lover of ancient Chinese poetry, like the writer Kurayama Nanso in the novel. Indeed, one of the characters he mocks most vigorously is Yamai, the editor of a new magazine specializing in pornographic photos. But then one of the attractions of this wonderful book is its range, even given its relative brevity and concision. There are as many different types of character, and of emotion, as there are in Tolstoy, even though Kafu's true masters were probably Maupassant and Turgenev, social realists with a sympathetic eye for subtleties of situation and nuances of feeling.
Kafu was an aesthete fascinated by sex, and predictably he had his own theory of desire. Whereas men of old sought to prove their masculinity in war or hunting, in the modern world they seek to do it by success in the fields of business and sexual predation. Yoshioka is his prime example of this, a handsome married man possessed of "an endless repertoire of obscene tricks," adept at concluding affairs, and endlessly seeking out new conquests "from girls of sixteen to women past forty." He finally finds his match in the frankly sensual Kikuchiyo.
Stephen Snyder is to be thanked both for translating this half-forgotten novel at all, and for doing it so compellingly. He is, incidentally, also the author of a critical book on Kafu entitled, appropriately enough, Fictions of Desire.
Kimura
花柳小説
腕くらべ
荷風小史著
http://www.gutenberg.org/files/34636/34636-h/34636-h.htm晴日木屐
譯者: 陳德文出版社: 花城出版社 出版年: 2012
《晴日木屐(日本唯美大師閒踏晴日木屐漫遊記趣)》是日本唯美派開山祖永井荷風的散文代表作，首次全譯了深受周作人喜愛的專集《晴日木屐——東京散策記》。荷風腳踏晴日木屐，手拿蝙蝠傘，走遍東京大街小巷及郊外，詳敘見聞及心跡，特別記錄了在現代文明社會的衝擊之下，遭受嚴重摧殘的日本傳統文化和古代遺存；以悲惋的情調表達了對江戶世俗生活的回味與嚮往，凸顯了一個傳統文人在社會轉型時期的文化批判眼光。 《晴日木屐(日本唯美大師閒踏晴日木屐漫遊記趣)》文字細膩，筆調感人。
棄之如木屐說到木屐，日本也常提我們的謝靈運。這位一千五百多年前的南朝人物"常著木屐，上山則去其前齒，下山則去其後齒"，此法是否真可行，好像不曾有人用實踐檢驗。白川靜以研究漢字著名，他說謝公屐叫蠟屐，腳底的板與板下的齒用蠟連接。我漠然想，大概像卯與榫一般嚴絲合縫，塗蠟潤滑，才容易把齒卸下或裝上。至於日本的木屐，參觀作坊，卻是把一塊木頭從中曲折鋸開，便初具一對形狀，再精削細磨。底板鑿三孔，繫帶作人字，據清末廣東人黃遵憲的體驗，"必兩指間夾持用力乃能行".這人字不能倒過來，所以上山下山都只有一個趿拉法。周作人"覺得比廣東用皮條絡住腳背的還要好，因為這似乎更著力可以走路"，於是他穿了和服木屐，拄根文明棍，很是自在。謝靈運時代鞋類已頗多，木屐"以木為之，施兩齒"，是專門用來踐踏泥濘的，恐怕不適於登山，此公玩風流罷了。從出土文物來看，木屐很早隨稻作從中國江南傳入日本，但晉人陳壽在《三國志》中記載，日本"皆徒跣"，就是說木屐傳入是傳入了，日常卻未必就用它來走路。或許踏地作響，用以驅鬼，用以敬神，踏起歌來又可以代替鼓聲，且歌且舞。平日里人們不是打赤腳，就是穿"草鞋"或者"草履".社會進步，草履不斷地改良創新，你看見女人穿和服嬝娜如隨風飄去，倘若是正裝，她內八字拖沓的就應該是這玩藝兒。木屐的齒有高有低，高齒木屐的一大功用是平地出恭，類似於吾鄉早年的茅房用方磚兩塊，左右墊腳。歌舞昇平的江戶時代也過了一半，已經是18世紀中葉，刨鑿之類工具發達，這才出現了專門做木屐的作坊。於是，木屐在女人當中流行，二十年後男人也跟風。本來木屐和雨傘相配，對付有雨一街泥，後來卻成為時尚，晴天也穿出來聽響。還造出三個齒的，塗了黑漆，妓女之超女拖曳著遊行。 1901年，這一年警察開始練車，騎腳踏車巡街，當局頒布禁止跣足令，街頭巷尾便響徹踢裡踏拉聲。也有了板與齒拼裝而成的，例如晴日木屐。永井荷風寫過隨筆《晴日木屐》，他趿拉著這種木屐逛街，是東京天氣全然沒有信用的緣故。戰敗後物資匱乏，人們只有木屐可穿，1955年生產九千三百萬雙，創歷史紀錄。此後經濟起飛，男女老少穿上了皮鞋。 1964年舉辦奧運會，大街小巷都鋪上柏油，木屐就成了長物，蔽與不蔽，統統被棄之，天下闃然。前幾天觀看日本鐵道攝影展，一張老照片吸引了眼球，但興趣並不在火車，而是鐵道邊站成一排看火車風馳的孩子，木屐不良於跑，被他們別在腰里或拎在手上，此景題為木屐的記憶似更妙。在學校裡身上製服，腳下木屐呱噠呱噠，屬於粗野形象，有傷風紀，現今只有大學拉拉隊的隊長還弄成這副模樣。不過，有一個人物卻令我佩服，他叫島正博，上學穿木屐被老師申斥，回家動腦筋，在底板上嵌入橡膠墊靜音，從此走上發明之路，1965年開發全自動手套編織機。商店裡賣的毛衣，款式繁多，袖子不是後縫上的，而是像木屐一樣整體成型，這種編織機也是他發明。二胡不知從什麼時候起成為中國的國粹，把木屐算作日本的國粹我們也應該無話可說，並且為棄之而惋惜。而今只有夏日里看煙火，女孩裹上輕薄的和服，光著白白的腳丫拖木屐，風情猶存，但她們偶一為之，嬌呼腳趾疼。
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