Kawanabe Kyosai (河鍋暁斎 1831~1889) 的畫法(他的蛙、人體......多寫生之功)。 李維史陀 施特勞斯 《看 聽 讀》中的說法： 英國人拜師、論文影響法國藝術；整個日本傳統、傳說和浮世繪歷史，如Hell Courtesan (Japanese: 地獄太夫, Jigoku Dayū) 、 蛙(frog) 的比喻集 /《伊索寓言》引進日本，英文版插畫家事是畫《愛麗絲夢遊奇境》的John Tenniel，日本版是Kawanabe Kyosai插畫.....
That touch of time’s passing can even be felt in the way distinctively Western material is transformed. One of Aesop’s fables was illustrated in its Western incarnation in 1848 by John Tenniel (most famous for his work with Lewis Carroll’s books). But when the tale of Hercules and the wagoner was translated into Japanese in 1873, Tenniel’s drawing was translated as well (by Kawanabe Kyosai). Tenniel’s static illustration, subsidiary to the text, is transformed with intense strokes and gestures into a shimmering glimpse of distress.
梁先生在翻譯上，更是質與量並濟，幾年前(2008) ，本基金會設劉振老師紀念獎 Liu Cheng Award 給兩位翻譯者--本基金會致贈紀念品一件，以表崇高敬意。http://demingcircle.blogspot.tw/2008/08/2008_26.html
當時的贊詞如下，
汪永祺先生；開拓台灣在概率學、統計學、系統學、英文學習、散文等領域之翻譯有成。梁永安先生：翻譯著作等身，豐富了台灣知識領域和思想境界，拓展了漢文的譯藝。
當時跟梁先生說，他翻譯出版超過一百本時，肯定會給他一筆比昔日新聞局的翻譯講多一元的獎金，以表崇高敬意。在梁先生日積月累的努力下，”業績”已達成，促進我們今天的聚會。對梁先生的贊詞，我在2008年已說過了，現在我舉今年(2013)請教他的兩篇。
從某種意義說，翻譯或是一種字義拼裝或修補匠bricolage。
這字眼的推廣者的傳記，粱先生翻譯過: 《李維史陀：實驗室裡的詩人》( Claude Levi-Strauss: The Poet in the Laboratory)---此書我們開過讀書會討論。所以我暑假請教他。
這字眼的推廣者的傳記，粱先生翻譯過: 《李維史陀：實驗室裡的詩人》( Claude Levi-Strauss: The Poet in the Laboratory)---此書我們開過讀書會討論。所以我暑假請教他。
拼裝(bricolage)此概念最初是由社會人類學家克洛德·列維-史特勞斯（Claude Lévi-Strauss）在1969年所出版的著作《野性的思 維》 中所提出。他認為修補匠和原始人類解決問題的方法類似： 修補匠喜歡凡事自己動手做， 並且會運用手邊現有的工具和材料來完成工作； 而當原始人類面對未曾遇過 的問題時，並不會想出新的概念來解決， 而是會重新組合並修改現有的方法，以適應這些新的狀況。 研究其他學科的思想家與作家也會借用拼裝的概念，討論創意藝 術家、教師以及其他人士是如何修改現存的想法、材料和做法， 並再加以運用，以應付新的狀況。借用此概念的學科包括教育、 藝術理論、法律，以及經濟學[1]。.....
他們拓寬我對生命厚度的理解，即使只是渺小的工作，卻散發對生命的堅持與感動。就像法國結構主義人類學大師李維．史陀說：「技藝，是人在宇宙中為自己所找 到的位置。」技藝就像一枝畫筆，彩繪歲月人生的咫尺之圖，技藝更像一片有方向的輕舟，度過人生的春夏秋冬，輕盈，卻踏實。
《李維史陀──實驗室裡的詩人》
- 安村敏信監修 『別冊太陽 河鍋暁斎 奇想の天才絵師』 平凡社、2008年4月、ISBN 978-4-5829-4514-0
- 『Demon of painting : the art of Kawanabe Kyōsai』 大英博物館、1993年、ISBN 978-0-7141-1462-0
河鍋 暁斎（かわなべ きょうさい、1831年5月18日〈天保2年4月7日〉 - 1889年〈明治22年〉4月26日）は、幕末から明治にかけて活躍した浮世絵師、日本画家。号は「ぎょうさい」とは読まず「きょうさい」と読む。それ以前の「狂斎」の号の「狂」を「暁」に改めたものである[1]。
明治3年（1870年）に筆禍事件で捕えられたこともあるほどの反骨精神の持ち主で、多くの戯画や風刺画を残している。狩野派の流れを受けているが、他の流派・画法も貪欲に取り入れ、自らを「画鬼」と称した。
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Bake-Bake Gakkō (化々學校), or "School for Spooks", woodblock print by Kyōsai. In August 1872, the Meiji government decided to implement a system of compulsory education. In this caricature, both demons (above) and kappa (center) are learning vocabulary concerning their daily life. The former are taught by Shōki the demon queller, dressed in western-style uniform. Some goblins try to enter the school (below), but are blown away by the Wind God.In this Japanese name, the surname is Kawanabe.
Kawanabe Kyōsai[1] (河鍋 暁斎, May 18, 1831 – April 26, 1889) was a Japanese painter and caricaturist. In the words of art historian Timothy Clarke, "an individualist and an independent, perhaps the last virtuoso in traditional Japanese painting".[2]
Biography[edit]
Living through the Edo period to the Meiji period, Kyōsai witnessed Japan transform itself from a feudal country into a modern state. Born at Koga, he was the son of a samurai. His first aesthetic shock was at the age of nine when he picked up a human head separated from a corpse in the Kanda river.[3] After working for a short time as a boy with ukiyo-e artist Utagawa Kuniyoshi, he received his formal artistic training in the Kanō school under Maemura Tōwa (前村洞和, ? – 1841), who gave him the nickname "The Painting Demon", but Kyōsai soon abandoned the formal traditions for the greater freedom of the popular school. During the political ferment which produced and followed the revolution of 1867, Kyōsai attained a reputation as a caricaturist. His very long painting on makimono (a horizontal type of Japanese handscroll/scroll) "The battle of the farts" may be seen as a caricature of this ferment. He was arrested three times and imprisoned by the authorities of the shogunate. Soon after the assumption of effective power by the Emperor, a great congress of painters and men of letters was held at which Kyōsai was present. He again expressed his opinion of the new movement in a caricature, which had a great popular success, but also brought him into the hands of the police, this time of the opposite party.[4]
Kyōsai is considered by many to be the greatest successor of Hokusai (of whom, however, he was not a pupil), as well as the first political caricaturist of Japan. His work mirrored his life in its wild and undisciplined nature, and occasionally reflected his love of drink. Although he did not possess Hokusai's dignity, power or reticence, he compensated with a fantastic exuberance, which always lent interest to his technically excellent draughtsmanship.[4]
He created what is considered to be the first manga magazine in 1874: Eshinbun Nipponchi, with Kanagaki Robun. The magazine was heavily influenced by Japan Punch, founded in 1862 by Charles Wirgman, a British cartoonist. Eshinbun Nipponchi had a very simple style of drawings and did not become popular with many people, and ended after just three issues.
Renjishi (連獅子), or "Dance of a Pair of Lions", by Kyōsai. Renjishi is a famous dance in the Kabuki theatre.
Flowers and Birds (花鳥図), 1881, Exhibited at The second National Industrial Exhibition. Tokyo National MuseumWorks by or about Kawanabe Kyōsai at Internet Archivehttps://en.wikipedia.org/wiki/Kawanabe_Ky%C5%8Dsai
kawanabe kyosai 河鍋暁斎 1831~1889
Bibliography[edit]
The most important work about Kyōsai's art and life was written by himself: Kyōsai Gadan (暁斎画談), or "Kyōsai's Treatise on Painting", half autobiography and half painting manual. An important contemporary work concerning the artist is Kawanabe Kyōsai-ō den (河鍋暁斎翁伝), or "Biography of the Old Man Kawanabe Kyōsai", by Iijima Kyoshin (飯島虚心). The work was finished in 1899, but published only in 1984.
Many westerners came to visit Kyōsai, and their memoirs about the artist are valuable. The two important ones, both rare, are:Émile Étienne Guimet, Promenades japonaises, Paris, 1880
Josiah Conder, Paintings and Studies by Kawanabe Kyōsai, Tokyo, 1911. Conder was a serious student of Japanese art; after some initial rejections, he was accepted as Kyōsai's pupil, and accompanied him for ten years until the master's death.
The most updated, and easily available, reference to Kyōsai's life and works in English is:Timothy Clark, Demon of painting: the art of Kawanabe Kyōsai, London: Published for the Trustees of the British Museum by the British Museum Press, 1993
エルヴィン・フォン・ベルツ（独: Erwin von Bälz、1849年1月13日 - 1913年8月31日）は、ドイツ帝国の医師で、明治時代に日本に招かれたお雇い外国人のひとり。東京帝国大学医科大学の前身となる東京医学校に着任すると、病理学、生理学、薬物学、内科学、産婦人科学、精神医学などを担当、講義だけでなく自ら病理解剖を執刀し、27年に渡り明治期の日本医学界に近代西洋医学を教え、医学発展と基礎を築いた。滞日は29年に及ぶ。
日本美術・工芸品の収集[編集]
ベルツは、親友のハインリヒ・フォン・シーボルトの影響を強く受け蒐集活動にも取り組む。花夫人（シーボルト夫人の名も同じ（岩本）ハナ）の協力を得ながら、江戸時代中後期から明治時代前半にかけての日本美術・工芸品約6000点を収集した。特に、絵師の河鍋暁斎を高く評価し、親しく交わった。ベルツ・コレクションは、シュトゥットガルトのリンデン民俗学博物館（独: Linden-Museum）に収蔵された。
蛙(frog) 的比喻集 /Benedict Anderson (1936~2015): Freeman Dyson (1923~2020 ): Kawanabe Kyosai的畫。Günter Grass 1927-201 格林兄弟時代以來.....
Günter Grass 1927-2015； 《給不讀詩的人：我的非小說：詩與畫》：例子
https://www.demorgan.org.uk/event/william-de-morgans-tiles/
DEMORGAN.ORG.UK
William De Morgan's Tiles
Rob Higgins is the author of several books on William De Morgan and
The legendary mathematical physicist Freeman Dyson described himself as a frog, not a bird, as he enjoyed jumping from pool to pool, studying details deep in the mud. In his own words, he was “obsessed with the future.”
QUANTAMAGAZINE.ORG
Remembering the Unstoppable Freeman Dyson
Freeman Dyson — physicist, mathematician, writer and idea factory — d
the Frog Pond Haiku by Matsuo Bashō (松尾 芭蕉 1644~94)
古池や蛙飛びこむ水の音 furu ike ya / kawazu tobikomu / mizu no oto
an ancient pond / a frog jumps in / the splash of water [1686]
古池や蛙飛びこむ水の音
furu ike ya / kawazu tobikomu / mizu no oto
[1686]
an ancient pond / a frog jumps in / the splash of water
the frog-boiling nature of living
Mr Mueller described a level of presidential misbehaviour that would be shocking were it not for the frog-boiling nature of living through the Trump presidency
The legendary mathematical physicist Freeman Dyson (1923~2020) described himself as a frog, not a bird, as he enjoyed jumping from pool to pool, studying details deep in the mud. In his own words, he was “obsessed with the future.”
Freeman Dyson loved exploring new ideas and asking questions.
.In his youth, Dyson worked at the Institute at the same time as Albert Einstein and J. Robert Oppenheimer, but they didn’t impress him at all. Instead, he found his young colleagues most inspirational.
Disturbing The Universe
1981
Infinite in All Directions:
Gifford Lectures Given at Aberdeen, Scotland April-November 1985
The Scientist as Rebel (New York Review Books 2008)
Maker of Patterns: An Autobiography Through Letters (2018)
睡前讀A Life Beyond Boundaries: A Memoir by Benedict Anderson (1936~2015), 2016，有點欲罷不能(雖然是學思過程，有許多"當地人"的現場教育、友情，以及一流的師長同事......)。提醒眼力有限。雖然下單買中文本以備.....英文版有索引，很適合我喜歡跳讀的習慣，譬如說。讀書前設想要介紹兩位西方人研究印尼的高手，原來輩分有別；無意間聽到A. B.說，古希臘沒Power觀念...... 。
A Life Beyond Boundaries: A Memoir by Benedict Anderson (1936~2015), 2016
Imagined Communities: Reflections on the Origin and Spread of Nationalism (1983)
（《ヤシガラ椀の外へ》，加藤剛譯，NTT出版）。書名來自印尼和暹羅的諺語「椰殼碗下的青蛙」與中、日文里的「井底之蛙」有相似之處又有微妙的區別。
A Life Beyond Boundaries: A Memoir
An intellectual memoir
author of The Spectre of Comparisons: Nationalism, Southeast Asia, and the World and Imagined Communities.
"群體史縮斂成一故事，特別重要。秉持此一精神，Benedict Anderson (1991)論到，”國家感”牽涉到建立在透過一遺忘，發明，和詮釋的審慎結合，對"建構的歷史之想像共同體"的了解。" James March (2010)
Marcie Middlebrooks／評Benedict Anderson回憶錄A Life Beyond Boundaries
A Japanese menagerie: animal pictures by Kawanabe Kyosai, British Museum Press (2006)
"Famous Heroes of the Kabuki Stage Played by Frogs (1798-1861)" by Utagawa Kuniyoshi, circa 1875. 歌川國芳:悪魔の浮世絵
https://www.youtube.com/watch?v=KKyMgSYZEh0&t=47s
APELES MESTRES i Oñós. Primavera nueva / ilustración del poema "Liliana," 1905.
Gnomes dancing with Frogs. Can't beat that!
European Fire-Bellied Toad and Yellow-Bellied Toad from Brehms Tierleben Vol 1, illustrator
Joseph Fleischmann, Leipzig, Vienna Bibliographisches Institut 1920
Childcraft: The How and Why Library (Volume 1) - Poems and Rhymes. Published by World Book / Childcraft International in 1979. Illustration by Charley Harper.
Fossil Shows Cold-Blooded Frogs Lived on Warm Antarctica
Apel·les Mestres i Oñós (1854 - 1936)
"The frog concert" Illustration for the poem «Liliana» 1905, Drawing, pen and ink on paper, Museu Nacional d'Art de Catalunya
Utagawa Kuniyoshi - Famous Heroes of the Kabuki Stage Played by Frogs, about 1860 (the source says 1875 but Kuniyoshi died in 1861)
280 歌川國芳:悪魔の浮世絵
https://www.youtube.com/watch?v=KKyMgSYZEh0&t=43s
In 1993, the Sound Exchange record store in Austin, Texas commissioned Johnston to paint a mural of the Hi, How Are You? frog (also known as "Jeremiah the Innocent") from the album's cover.[21] After the record store closed in 2003,....As of 2018, the building houses a Thai restaurant called "Thai, How Are You".
Daniel Dale Johnston (January 22, 1961 – September 10, 2019) was an American singer-songwriter and visual artist regarded as a significant figure in outsider, lo-fi, and alternative music scenes.
2019年三月在奧斯汀。Daniel Johnston著名的壁畫。
今天各地樂迷都到這裡獻花，留下悼念的紙條。
蛙類喜愛乾淨的水質，是環境指標生物之一，在食物鏈裡扛著很重要的一環。面對環境的變異，牠們該如何自處與生存？
The Quack Frog. Arthur Rackham illustration for a 1912 edition of AESOP’S FABLES.
第一次讀到此詩的原文，是20世紀末幾年，跟蕭志強老師學日文時。他認為詩歌是很好的入門教材，所以在前幾堂就教它。日本 心得帖: 「古池や蛙飛びこむ水の音」（ふるいけやかわずとびこむみずのおと）的一些回憶
HCJAPAN.BLOGSPOT.TW
Cat Catching A Frog. Kawanabe Kyosai 河鍋曉齋 1831~89 GuimetUnderground 🖼 kawanabe kyosai的畫
傅月庵──和吳昭新。
2016年5月30日 ·
江戶徘人小林一茶寫過很有名的一首俳句：
痩せ蛙 负けるな 一茶ここにあり
翻譯成中文，大概是
瘦青蛙
别輸掉
還有我一茶！
此句有題記：「4月20日見蛙鬥」。所謂「蛙鬥」是指春夏之交，青蛙發情期，公蛙爭相與母蛙交配而激烈相鬥的情景。一茶出身貧困，向來「站在雞蛋那一邊」，因此替瘦青蛙加油，大聲說：「千萬別輸掉啊，還有我一茶當你後盾呢！」
這句子讓人看到了一茶的慈悲，民胞物與的心情。更底層裡，據說還隱藏著一名老父的期望與祝福。
也正是這一年（文化13年，1816），結婚滿兩年，年已54歲的一茶，好不容易終於有了第一個兒子，那是4月14日的事，一茶人在異地，取名「千太郎」，又瘦又小，大約就像那隻瘦青蛙吧。因此有種說法，那隻青蛙所投射的，不無千太郎成份：「瘦兒子啊，千萬別死去，還有老爸爸當你後盾啊！」
——儘管父親如此用力祝福，千太郎還是在5月11日溘然而逝。一茶一輩子結婚三次，有過三男一女，均早夭，最後留下一名遺腹女傳承血脈。
隨附這張青蛙圖片，出自與一茶同時代，特別愛畫青蛙的畫人松本奉時之手，現藏大英博物館。圖中青蛙又胖又圓潤，瞪著兩隻大眼，當然不是一茶此句裡的「瘦蛙」，反而更像他另一首俳句所說的了：
向我挑戰
比賽瞪眼──
一隻巨大的青蛙
Friedrich Karl Baumgarten (1883-1966)
Illustration for the German folksong "Das Wandern ist des Müllers Lust" (Rambling is the Miller's Joy)
Das Wandern ist des Müllers Lust - Kinderlieder zum Mitsingen | Sing Kinderlieder
https://www.youtube.com/watch?v=g8lWPTmvvbQ
Frog and Toad. Written and Illustrated by Arnold Lobel.
The Frog Prince,
"The Frog asks to be allowed to enter the Castle", illustration for The Frog Prince, 1874
https://en.wikipedia.org/wiki/Walter_Crane
Feodor Rojankovsky illustrations for "Frog Went A-Courtin’", 1956
Altes museum, Berlin. Roman Oil Lamps
印尼某次皇位繼承的決策之"理性"：生前未指定繼承者.....
Benedict Anderson 的 《比較的幽靈：民族主義、東南亞與世界》（The Spectre of Comparisons: Nationalism, Southeast Asia, and the World）扉頁引(Vladimir Mayakovsky ，1893～1930) 詩
.......時時發光，
處處發光，
永遠叫光芒照耀，
發光----
二話說!
這就是我和太陽的
口號! (《 馬雅可夫斯基夏天在別墅中的一次奇遇》)
「日本第一美蛙」的稀有種奄美石川蛙(Odorrana splendida)，現正在鹿兒島縣奄美大島的夜間溪流中，響徹著「啾啾」般優美的鳴叫聲。
全文&影片：https://asahichinese.pse.is/F658R
1686年，松尾芭蕉1644~94[創作了蛙的發句：
古池や蛙飛びこむ水の音
（ふるいけや かはづとびこむ みずのおと） 『蛙合』
台北樹蛙Taipei tree frog- 维基百科
The Quack Frog. Arthur Rackham illustration for a 1912 edition of AESOP’S FABLES.
《北美蛙鳴》(Sounds of North American Frogs) By Charles Mitchill Bogert (June 4, 1908 – April 10, 1992)
https://www.youtube.com/watch?v=OQdHW9_G7Jo
Marcel Pille in La Mandragore (The Mandrake) (1899) by Jean Lorrain
Australian illustrator, Ida Rentoul Outhwaite (1888-1960)
***
"傅月庵
2013年9月8日 ·
「青蛙有兩種，小的叫田蛤仔，大的叫水雞。」
看到這段話，急忙回頭查找作者簡介。咦，彰化，彰化也這樣叫的嗎？
田蛤仔，讀如「產嘎啊」；水雞，讀如「最歸」，是從小熟知青蛙分別法與叫法。唸中學後，卻出了問題。「水雞」沒太大爭議，大隻青蛙，煮來吃很補那種；「田蛤仔」許多人聽不懂，搞了半天，才知別人都叫「四腳仔」。因這好奇的疙瘩，日後常問人「台語青蛙怎麼說？」所得答案，「四腳仔」居多，方才漸漸相信「田蛤仔」是非主流（至於介乎其間的「石凎」更不用提了。）
沒想到《大風吹》（聯經）裡會碰到「田蛤仔」，一種親切油然而生。這親切，大約也就是我對作者王盛弘的印象了。跟盛弘碰過幾次面，幾乎都在遊行場合，他總親切招呼，話不多，漾著笑意站在一旁，有種淡定的靦腆，像鄰家大男孩，很乾淨很明朗。奇特的是，幾年下來，他總那樣，幾乎不變。偶然在網路看到他的舊照片，也都是那樣，遂不覺認定白先勇「總也不老」這四字，也是早早為他所寫的了。
或許因為這樣的性格，這本取法班雅明《柏林童年》形式的《大風吹》，沒有追憶文章常見的感懷傷逝或扭曲嘲弄，卻有時光之河流浴一過的乾淨明朗。這種乾淨明朗，絕非「落了片白茫茫大地真乾淨」，而恐與「騰騰任天真」有關了。
因為「真」，所以「清」。即使坦然講述家族的種種糾葛，父親的「壞人壞事」，也自有一種清明：「喝醉酒的父親令人生悶氣，而半夜裡起身捧著一碗熱開水蹲門檻上，邊輕吹著熱氣邊啜飲的父親，那呼呼吹氣聲在黑暗中鼓脹著落寞寂寥，令人不忍聞見。」讀到這段文字，想像那影像，不心生悲憫者幾希？
「大風起，把頭搖一搖；風停了，又挺直腰。大雨來，彎著背，讓雨澆，雨停了，抬起頭，站直腳……」。盛弘這書叫《大風吹》，翻讀過程，我腦海卻老想起這首旋律。熟悉又親切。
https://www.demorgan.org.uk/event/william-de-morgans-tiles/
DEMORGAN.ORG.UK
William De Morgan's Tiles
Rob Higgins is the author of several books on William De Morgan and
The legendary mathematical physicist Freeman Dyson described himself as a frog, not a bird, as he enjoyed jumping from pool to pool, studying details deep in the mud. In his own words, he was “obsessed with the future.”
QUANTAMAGAZINE.ORG
Remembering the Unstoppable Freeman Dyson
Freeman Dyson — physicist, mathematician, writer and idea factory — d
the Frog Pond Haiku by Matsuo Bashō (松尾 芭蕉 1644~94)
古池や蛙飛びこむ水の音 furu ike ya / kawazu tobikomu / mizu no oto
an ancient pond / a frog jumps in / the splash of water [1686]
古池や蛙飛びこむ水の音
furu ike ya / kawazu tobikomu / mizu no oto
[1686]
an ancient pond / a frog jumps in / the splash of water
the frog-boiling nature of living
Mr Mueller described a level of presidential misbehaviour that would be shocking were it not for the frog-boiling nature of living through the Trump presidency
The legendary mathematical physicist Freeman Dyson (1923~2020) described himself as a frog, not a bird, as he enjoyed jumping from pool to pool, studying details deep in the mud. In his own words, he was “obsessed with the future.”
Freeman Dyson loved exploring new ideas and asking questions.
.In his youth, Dyson worked at the Institute at the same time as Albert Einstein and J. Robert Oppenheimer, but they didn’t impress him at all. Instead, he found his young colleagues most inspirational.
Disturbing The Universe
1981
Infinite in All Directions:
Gifford Lectures Given at Aberdeen, Scotland April-November 1985
The Scientist as Rebel (New York Review Books 2008)
Maker of Patterns: An Autobiography Through Letters (2018)
睡前讀A Life Beyond Boundaries: A Memoir by Benedict Anderson (1936~2015), 2016，有點欲罷不能(雖然是學思過程，有許多"當地人"的現場教育、友情，以及一流的師長同事......)。提醒眼力有限。雖然下單買中文本以備.....英文版有索引，很適合我喜歡跳讀的習慣，譬如說。讀書前設想要介紹兩位西方人研究印尼的高手，原來輩分有別；無意間聽到A. B.說，古希臘沒Power觀念...... 。
A Life Beyond Boundaries: A Memoir by Benedict Anderson (1936~2015), 2016
Imagined Communities: Reflections on the Origin and Spread of Nationalism (1983)
（《ヤシガラ椀の外へ》，加藤剛譯，NTT出版）。書名來自印尼和暹羅的諺語「椰殼碗下的青蛙」與中、日文里的「井底之蛙」有相似之處又有微妙的區別。
A Life Beyond Boundaries: A Memoir
An intellectual memoir
author of The Spectre of Comparisons: Nationalism, Southeast Asia, and the World and Imagined Communities.
"群體史縮斂成一故事，特別重要。秉持此一精神，Benedict Anderson (1991)論到，”國家感”牽涉到建立在透過一遺忘，發明，和詮釋的審慎結合，對"建構的歷史之想像共同體"的了解。" James March (2010)
Marcie Middlebrooks／評Benedict Anderson回憶錄A Life Beyond Boundaries
A Japanese menagerie: animal pictures by Kawanabe Kyosai, British Museum Press (2006)
"Famous Heroes of the Kabuki Stage Played by Frogs (1798-1861)" by Utagawa Kuniyoshi, circa 1875. 歌川國芳:悪魔の浮世絵
https://www.youtube.com/watch?v=KKyMgSYZEh0&t=47s
APELES MESTRES i Oñós. Primavera nueva / ilustración del poema "Liliana," 1905.
Gnomes dancing with Frogs. Can't beat that!
European Fire-Bellied Toad and Yellow-Bellied Toad from Brehms Tierleben Vol 1, illustrator
Joseph Fleischmann, Leipzig, Vienna Bibliographisches Institut 1920
Childcraft: The How and Why Library (Volume 1) - Poems and Rhymes. Published by World Book / Childcraft International in 1979. Illustration by Charley Harper.
Fossil Shows Cold-Blooded Frogs Lived on Warm Antarctica
Apel·les Mestres i Oñós (1854 - 1936)
"The frog concert" Illustration for the poem «Liliana» 1905, Drawing, pen and ink on paper, Museu Nacional d'Art de Catalunya
Utagawa Kuniyoshi - Famous Heroes of the Kabuki Stage Played by Frogs, about 1860 (the source says 1875 but Kuniyoshi died in 1861)
280 歌川國芳:悪魔の浮世絵
https://www.youtube.com/watch?v=KKyMgSYZEh0&t=43s
In 1993, the Sound Exchange record store in Austin, Texas commissioned Johnston to paint a mural of the Hi, How Are You? frog (also known as "Jeremiah the Innocent") from the album's cover.[21] After the record store closed in 2003,....As of 2018, the building houses a Thai restaurant called "Thai, How Are You".
Daniel Dale Johnston (January 22, 1961 – September 10, 2019) was an American singer-songwriter and visual artist regarded as a significant figure in outsider, lo-fi, and alternative music scenes.
2019年三月在奧斯汀。Daniel Johnston著名的壁畫。
今天各地樂迷都到這裡獻花，留下悼念的紙條。
蛙類喜愛乾淨的水質，是環境指標生物之一，在食物鏈裡扛著很重要的一環。面對環境的變異，牠們該如何自處與生存？
The Quack Frog. Arthur Rackham illustration for a 1912 edition of AESOP’S FABLES.
第一次讀到此詩的原文，是20世紀末幾年，跟蕭志強老師學日文時。他認為詩歌是很好的入門教材，所以在前幾堂就教它。日本 心得帖: 「古池や蛙飛びこむ水の音」（ふるいけやかわずとびこむみずのおと）的一些回憶
HCJAPAN.BLOGSPOT.TW
Cat Catching A Frog. Kawanabe Kyosai 河鍋曉齋 1831~89 GuimetUnderground 🖼 kawanabe kyosai的畫
傅月庵──和吳昭新。
2016年5月30日 ·
江戶徘人小林一茶寫過很有名的一首俳句：
痩せ蛙 负けるな 一茶ここにあり
翻譯成中文，大概是
瘦青蛙
别輸掉
還有我一茶！
此句有題記：「4月20日見蛙鬥」。所謂「蛙鬥」是指春夏之交，青蛙發情期，公蛙爭相與母蛙交配而激烈相鬥的情景。一茶出身貧困，向來「站在雞蛋那一邊」，因此替瘦青蛙加油，大聲說：「千萬別輸掉啊，還有我一茶當你後盾呢！」
這句子讓人看到了一茶的慈悲，民胞物與的心情。更底層裡，據說還隱藏著一名老父的期望與祝福。
也正是這一年（文化13年，1816），結婚滿兩年，年已54歲的一茶，好不容易終於有了第一個兒子，那是4月14日的事，一茶人在異地，取名「千太郎」，又瘦又小，大約就像那隻瘦青蛙吧。因此有種說法，那隻青蛙所投射的，不無千太郎成份：「瘦兒子啊，千萬別死去，還有老爸爸當你後盾啊！」
——儘管父親如此用力祝福，千太郎還是在5月11日溘然而逝。一茶一輩子結婚三次，有過三男一女，均早夭，最後留下一名遺腹女傳承血脈。
隨附這張青蛙圖片，出自與一茶同時代，特別愛畫青蛙的畫人松本奉時之手，現藏大英博物館。圖中青蛙又胖又圓潤，瞪著兩隻大眼，當然不是一茶此句裡的「瘦蛙」，反而更像他另一首俳句所說的了：
向我挑戰
比賽瞪眼──
一隻巨大的青蛙
Friedrich Karl Baumgarten (1883-1966)
Illustration for the German folksong "Das Wandern ist des Müllers Lust" (Rambling is the Miller's Joy)
Das Wandern ist des Müllers Lust - Kinderlieder zum Mitsingen | Sing Kinderlieder
https://www.youtube.com/watch?v=g8lWPTmvvbQ
Frog and Toad. Written and Illustrated by Arnold Lobel.
The Frog Prince,
"The Frog asks to be allowed to enter the Castle", illustration for The Frog Prince, 1874
https://en.wikipedia.org/wiki/Walter_Crane
Feodor Rojankovsky illustrations for "Frog Went A-Courtin’", 1956
Altes museum, Berlin. Roman Oil Lamps
印尼某次皇位繼承的決策之"理性"：生前未指定繼承者.....
Benedict Anderson 的 《比較的幽靈：民族主義、東南亞與世界》（The Spectre of Comparisons: Nationalism, Southeast Asia, and the World）扉頁引(Vladimir Mayakovsky ，1893～1930) 詩
.......時時發光，
處處發光，
永遠叫光芒照耀，
發光----
二話說!
這就是我和太陽的
口號! (《 馬雅可夫斯基夏天在別墅中的一次奇遇》)
「日本第一美蛙」的稀有種奄美石川蛙(Odorrana splendida)，現正在鹿兒島縣奄美大島的夜間溪流中，響徹著「啾啾」般優美的鳴叫聲。
全文&影片：https://asahichinese.pse.is/F658R
1686年，松尾芭蕉1644~94[創作了蛙的發句：
古池や蛙飛びこむ水の音
（ふるいけや かはづとびこむ みずのおと） 『蛙合』
台北樹蛙Taipei tree frog- 维基百科
The Quack Frog. Arthur Rackham illustration for a 1912 edition of AESOP’S FABLES.
《北美蛙鳴》(Sounds of North American Frogs) By Charles Mitchill Bogert (June 4, 1908 – April 10, 1992)
https://www.youtube.com/watch?v=OQdHW9_G7Jo
Marcel Pille in La Mandragore (The Mandrake) (1899) by Jean Lorrain
Australian illustrator, Ida Rentoul Outhwaite (1888-1960)
***
"傅月庵
2013年9月8日 ·
「青蛙有兩種，小的叫田蛤仔，大的叫水雞。」
看到這段話，急忙回頭查找作者簡介。咦，彰化，彰化也這樣叫的嗎？
田蛤仔，讀如「產嘎啊」；水雞，讀如「最歸」，是從小熟知青蛙分別法與叫法。唸中學後，卻出了問題。「水雞」沒太大爭議，大隻青蛙，煮來吃很補那種；「田蛤仔」許多人聽不懂，搞了半天，才知別人都叫「四腳仔」。因這好奇的疙瘩，日後常問人「台語青蛙怎麼說？」所得答案，「四腳仔」居多，方才漸漸相信「田蛤仔」是非主流（至於介乎其間的「石凎」更不用提了。）
沒想到《大風吹》（聯經）裡會碰到「田蛤仔」，一種親切油然而生。這親切，大約也就是我對作者王盛弘的印象了。跟盛弘碰過幾次面，幾乎都在遊行場合，他總親切招呼，話不多，漾著笑意站在一旁，有種淡定的靦腆，像鄰家大男孩，很乾淨很明朗。奇特的是，幾年下來，他總那樣，幾乎不變。偶然在網路看到他的舊照片，也都是那樣，遂不覺認定白先勇「總也不老」這四字，也是早早為他所寫的了。
或許因為這樣的性格，這本取法班雅明《柏林童年》形式的《大風吹》，沒有追憶文章常見的感懷傷逝或扭曲嘲弄，卻有時光之河流浴一過的乾淨明朗。這種乾淨明朗，絕非「落了片白茫茫大地真乾淨」，而恐與「騰騰任天真」有關了。
因為「真」，所以「清」。即使坦然講述家族的種種糾葛，父親的「壞人壞事」，也自有一種清明：「喝醉酒的父親令人生悶氣，而半夜裡起身捧著一碗熱開水蹲門檻上，邊輕吹著熱氣邊啜飲的父親，那呼呼吹氣聲在黑暗中鼓脹著落寞寂寥，令人不忍聞見。」讀到這段文字，想像那影像，不心生悲憫者幾希？
「大風起，把頭搖一搖；風停了，又挺直腰。大雨來，彎著背，讓雨澆，雨停了，抬起頭，站直腳……」。盛弘這書叫《大風吹》，翻讀過程，我腦海卻老想起這首旋律。熟悉又親切。
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