林語堂 中國與印度之智慧 Oriental humour R.H. Blyth (大作家 1898~1964) 獻給鈴木大拙 幽默與東西方文學 : 第卅七屆國際筆會論文集 / 林語堂等撰

• (1942) The Wisdom of China and India, Random House 林語堂

R.H. Blyth (大作家 1898~1964)

レジナルド・ホーラス・ブライス（Reginald Horace Blyth、

https://ja.wikipedia.org/wiki/%E3%83%AC%E3%82%B8%E3%83%8A%E3%83%AB%E3%83%89%E3%83%BB%E3%83%96%E3%83%A9%E3%82%A4%E3%82%B9

墓所は北鎌倉の松岡山東慶総寺禅寺で、終生の友だった鈴木大拙の墓地の後ろ側にある。辞世の句は「山茶花に心残して旅立ちぬ」。

他的遺詩是「我心中滿載山茶花而去」。

1953年
人物情報
生誕	1898年12月8日  イギリスエセックス
死没	1964年10月28日（65歳没）
出身校	ロンドン大学
学問
研究分野	文学
研究機関	京城帝国大学・学習院大学

著書

[編集]

• Zen in English Literature and Oriental Classics（『禅と英文学』）, The Hokuseido Press（北星堂書店）, 1942. ISBN 0-9647040-1-3 (オンライン出版（有料）)
• Haiku, 1949-1952, 全4巻, Volume 1: Eastern Culture. Volume 2: Spring. Volume 3:Summer-Autumn. Volume 4: Autumn-Winter. The Hokuseido Press, ISBN 0-89346-184-9
  • 『俳句』村松友次・三石庸子 共訳、永田書房, 2004
• Senryu: Japanese Satirical Verses（『世界の諷刺詩 川柳』）, The Hokuseido Press, 1949 ISBN 0-8371-2958-3
• Japanese Humour, Japan Travel Bureau, 1957
• Japanese Life and Character in Senryu, 1959.
• Oriental Humor, 1959.
• Zen and Zen Classics（『禅クラシックス』）, 全5巻, Volume 1: General Introduction,from the Upanishads to Huineng.1960.ISBN 0-89346-204-7. Volume 2: History of Zen,1964. ISBN 0-89346-205-5. Volume 3: History of Zen. 1970. Volume 4: Mumonkan.1966. Volume 5: Twenty-Five Zen Essays.1962. ISBN 0-89346-052-4. The Hokuseido Press.
• Edo Satirical Verse Anthologies, 1961. The Hokuseido Press.
• A History of Haiku（『俳句の歴史』） 全2巻, Volume 1: From the Beginnings up to Issa.ISBN 0-9647040-2-1.1963. Volume 2: From Issa up to the Present.ISBN 0-9647040-3-X.1964.The Hokuseido Press.
• Games Zen Masters Play : writings of R. H. Blyth, 1976.
• A Survey of English Literature.
• Humour in English Literature: A Chronological Anthology.
• Easy Poems. Vol 1 and 2（『やさしい英詩』）.
• How to Read English Poetry.
• Dorothy Wordsworth's Journals (『ドロシー・ワーズワースの日誌』、Introduction、Footnotes付).
• A Week on the Concord and Merrimack River (抄編、Introduction、Notes付).
• Buddhist Sermons on Christian Texts, Heian International, 1976, ISBN 978-0893460006

Oriental humour Hardcover – 1968年 1月 1日

作者 R.H. Blyth (Author)

• ASIN ‏ : ‎ B0007IUAQ4
• 出版者 ‏ : ‎ The Hokuseido Press (1968年 1月 1日)
• 語言 ‏ : ‎ English

查看所有格式和版本

---

HUMOUR, ORIENTAL, VINTAGE BOOK, COLLECTOR'S FIND

• 

Oriental humour Hardcover – 1959/1968年四刷

 1月 1日

作者 R.H. Blyth (Author)

查看所有格式和版本

---

HUMOUR, ORIENTAL, VINTAGE BOOK, COLLECTOR'S FIND

最毒婦人心：一個毒理學研究者的新詮釋
臺大醫院-健康電子報  2025 01 194期
https://epaper.ntuh.gov.tw › health
姜至剛

後來《封神演義》中，為了刻畫姜子牙老婆馬氏的狠毒，將此詩改寫為「青竹蛇兒口，黃蜂尾上針，兩般皆是可，最毒婦人心」，用以形容那些看不到未來的命運，在大是大非上助紂為虐的 ...

負人心

猶自可

 權貴變全跪，幽默。

謝志偉粉絲頁

舉頭四尺有神明

有位在中國待了相當一段時間，

在此不方便具名的朋友來訊：

「志偉，那個李筱峰教授

和曹董（興誠）最近在批判的

一個叫蔡什麼元的，因為這傢伙

竟然附和『武力統一』。

你知道嗎？我在中國碰到過他！」

我回：

「噢，被你碰到過？那怎樣？」

他回：

「我還記得，我當場提醒他：

『舉頭四尺有神明』啊！」

我回：

「你是離開台灣太久了吧？

應該是『舉頭三尺有神明』才對啊！」

他回：

「我怎麼會忘記？！

這些人在台灣是『權貴』，

但是到了那邊都變成了『全跪』，

所以我才配合從『三尺』改成

舉頭『四尺』有神明。」

曹興誠 八不居士

權貴變全跪，幽默。

On Humour -幽默與東西方文學 : 第卅七屆國際筆會論文集 / 林語堂等撰 Simon Critchley-  幽默與東西方文學 :  American Center of P.E.N., 1970

On Humour - Simon Critchley - Google Books

books.google.com › Philosophy › Movements › HumanismShare

Does humour make us human, or do the cats and dogs laugh along with us? On Humour is a fascinating, beautifully written and funny book on what humour can ...2002

Simon Critchley is Professor of Philosophy and Director for the Centre of Theoretical Studies at the University of Essex. 


 幽默 你好廣西師範2007

Interview: Simon Critchley Philosopher and author of On Humour

Shirley Dent

SD: You end On Humour with a definition of the risus purus, the highest laugh. I will read that definition back to you: For me, it is this smile - deriding the having and the not having, the pleasure and the pain, the sublimity and suffering of the human situation - that is the essence of humour. This is the risus purus, the highest laugh, the laugh that laughs at the laugh, that laughs at that which is unhappy, the mirthless laugh of the epigraph to this book. Yet, this smile does not bring unhappiness, but rather elevation and liberation, the lucidity of consolation. This is why, melancholy animals that we are, human beings are also the most cheerful. We smile and find ourselves ridiculous. Our wretchedness is our greatness. Although I sympathise with your celebration of humanity's ability to overcome the worst, through laughter, this wormhole of escapism, I am deeply suspicious of any theory that concludes 'our wretchedness is our greatness'. Can you really defend this statement? SC: It's a quotation from Pascal. I've always been very keen on Pascal, and what I'm most keen on in Pascal is his emphasis upon human wretchedness. He has a phrase which goes something like 'Anxiety, boredom and inconstancy, that is the human condition' and I've always been very partial to that. But obviously for Pascal the flip side of that is religious experience, that experience of God that would transform or redeem your wretchedness. I've long wanted to have an occasion to include it in something I wrote and that's why it's there. I do mean it, it's very important to me in so far as I think, and this is one of the arguments of the book, that there is a black sun at the heart of the coloured universe, there is something melancholic at the heart of humour and in the last chapter I try and trace that out using Freud. I try and show how the structure of melancholia and the structure of humour are the same structure. Melancholia for Freud is the relationship that the subject takes up with respect to itself from the position of what he calls conscience or what he later calls the super-ego. And that can be lacerated - if you think of the anorexic who sees themselves from the perspective of the image they have, of the image they have of themselves in the mirror which is false - that would be the super-ego. Super-ego is what generates depression and it is what has to be dealt with in psychoanalysis. The thing about humour is that the super-ego is also at play, so what interested me, particularly in the last chapter which is key to the book -and no one seems to have picked this up in writings on Freud - is that, in the later Freud, the essence of humour is the ability to look at myself and find myself ridiculous. That makes me laugh. So the pathology of humour is the same pathology as that of melancholia or depression The difference with humour is that humour can alleviate that, can transform that experience of wretchedness into something elevating, and liberating, in Freud's words. I don't want people to dwell in their wretchedness, I want people to find themselves ridiculous, and in so far as they can find themselves ridiculous they can rise above that wretchedness. SD: What you are saying then, is that the final quotation, your thesis on humour, is not so much descriptive as prescriptive? SC: Both. It's a very difficult line to tread. I begin the book by trying to describe the phenomena of humour and the phenomena of laughter. And then I say I am going to make normative claims. It is normal to say about humour that it is good to laugh at yourself and not good to laugh at others - that is the ethical headline of the book. It is descriptive therefore, in that I am feeding of what happens in humour and trying to offer a certain idea of how humour ought to be, what the best sorts of humour are capable of. SD: Freud and Pascal are not the only figures in the last chapter. Samuel Beckett features a lot. Why so many helpers? Is it because humour is like that, it's a communal thing? SC: Absolutely - everybody's an expert and everybody's got a gag. I was giving a talk in Bath at a conference on animals - there was no reason why I should have been there - but I was giving a plenary on humour and animals. Afterwards I got twenty-five references that I might follow on the basis of that talk - and they were good things. Why the book is so eclectic is that I was being taken off in different directions by people responding to it, but they're responding to it because they feel they have something to say, that they know about humour, they know what it means. That's the place where I begin: everybody's an expert when it comes to humour. What humour feeds off is a tacit knowledge, an implicit knowledge of the social world that we have. The quote you read at the beginning of this interview, the laugh that laughs at the laugh, that laughs at that which is unhappy, is from Beckett's Watt. In many ways this book comes out of earlier work on Beckett. SD: Just to back track a little bit, when you mentioned Pascal, you talked about the flip side of wretchedness as being religious experience. That's fine if you have a God or a religion. Are you suggesting that in a secular age, humour is the new God? SC: This is an important question and it strikes me that there are about twenty things to say. First, there is no God. I begin from the assumption that modernity is defined by the impossibility of any metaphysical belief in a deity. That's where I begin from and that is axiomatic for me. It means that if I had a religious experience I would stop doing philosophy: philosophy for me is essentially atheistic. Now that's an anxious atheism. It's an atheism that is anxious because it inhabits questions that were resolved religiously in the pre-modern period. So the difficulty of modern life, of modernity in the full sense is this: the way in which we make sense of ourselves, those things we value and attribute meaning to, is still within a religious framework. Yet we cannot believe that religious framework. So from my perspective, modernity as a fully secular worldview has never really been achieved. We still inhabit the traces, the memory of, that religious perspective. And that's an ambiguous thing. On the one hand it's a good thing: there's a story I use about Foucault in something I've just been writing on Racine and Christian subjectivity in drama. Foucault makes this comment in 1980 in a seminar at NYU where he asks 'How would we differentiate the pagan from the Christian?' The he says it would be in terms of the following two questions: the pagan of late antiquity asks himself the question 'Given that I am who I am, who can I fuck? Boys. girls, animals, whatever?' The Christian asks himself the question 'Given that I can fuck no one, who am I?' And we're still very much within a Christian framework: what Christianity in the West, and perhaps Islam does that elsewhere, and Judaism cuts across both in interesting ways, but Christianity in the West, opens up a perspective of depth into what it means to be a self. And that depth of the self is something that is experienced in the sight of God. So that the great thinkers of self and subjectivity are Paul and Augustine. They look at the self from the perspective of God and they find themselves wretched and interesting. Constituted by conflictual desires. The difficulty we have is that we have that wretchedness of conflictual desire without reference to God. So humour is one way of thinking that complexity through. But there are other ways as well. I take it that why psychoanalysis is interesting is that psychoanalysis is a way of attending to the deep complexity of what it means to be the self. SD: What about other strategies? Is humour a strategy that cuts across other ways of dealing with what it is to be human? For example you can have psychological humour but you can also have political humour. SC: Again, it's fairly difficult because a question that is often raised about humour and it's been raised to me about what I've done with the topic, is humour fundamentally reactionary or can it be revolutionary. And I think the best answer is that it can be both. What's interesting about that is that jokes that are reactionary and jokes that are revolutionary have the same structure. So for example, the joke that I tell in the book is the radical feminist joke that goes. "How many men does it take to tile a bathroom? I don't know it depends how thinly you slice them." Which could be seen, if you wanted to, as a progressive joke, arguing for women's emancipation from the bondage of DIY or whatever. But it has the same structure as a racist joke or a Daily Mail reader joke, if you change the target, or you switched it round and it becomes a mother-in-law joke. So jokes have a very common structure and there's nothing about the structure of humour that can determine its political uses. SD: What about political correctness? Would you ban Bernard Manning for example? SC: Are there things you shouldn't laugh at? On the one hand I'd say no, there's nothing you shouldn't laugh at, and I can imagine making a strong anti-censorship argument, that we should have racist and sexist jokes because they are part of the lived experience of humour and to ignore them is just to repress them and to ignore a deep truth about ourselves. On the other hand that could be seen as a licence to permit racial and sexual hatred, or hatred of immigrants and asylum seekers. I was debating with Will Self at the British Library about three years ago. He was talking about satire and he's a very interesting man when he's pushed. Someone asked him the question 'Are there things you wouldn't laugh at? Are there things you wouldn't satirise?' And he replied 'Absolutely. Yes. I wouldn't do satire that used racist and sexist assumptions'. I found that interesting because if you think about Will Self's work you would imagine that nothing is off limits. So I don't know. I think that racist jokes, ethic jokes, it's interesting in so far as racist humour reveals deep anxieties, they reveal how far we are still captive to assumptions that we would rather not have. As a good liberal, Guardian reading, anti-sexist male, I'd find myself unwittingly, against myself, laughing at things I don't want to laugh at. There are lies I'm telling myself. So there are case of progressive humour and cases or reactionary humour. But the structure of humour is similar. SD: At one level, don't you just judge it in the way we would judge art. Is it good? Is it funny? SC: In many ways the key passage in the book is the one from Trevor Griffiths' The Comedians, which I remember watching as a kid on Granada TV, and which made an impression on me. In the TV version, the character that is played by Jimmy Jewel, the old music hall comic, makes this point, that any gag relieves tension. You can make people laugh. That's not difficult. But a true gag, a comedian's gag, has to do that and change the situation in which you understand yourself and the world. And great comedy does that. A good example is watching the first episode of The Office and the first gag is this racist gag about the royal family thinking about a black man's cock and the joke is told three times in the show. It seems to me that this is a good case. We've got this gag - and it's a funny gag - but the way in which it's handled is that you're forced to effectively question all sorts of assumptions you have. SD: What do you think of The Office? SC: It's painfully accurate. I almost can't watch it, it's so painful. I wonder, I'm an academic, I've worked in factories, but I've never really worked in an office. But I wonder what it's like for people who work in offices. I watched the first episode last week and at three points I had to turn away. I couldn't bear to watch it. I found it so painful. To that extent, we're attracted to situations of embarrassment and pain, the same reason that people watch horror movies with their hands over their eyes. Humour at its best is making explicit what is tacit, what is assumed, the stock of social know-how, and calling that into question, but calling it into question in a way that is recognised. Genuinely great humour recognises the world it's describing and yet we are also called into question by it. That's what great art should do. That's what great philosophy should do. The one thing about humour is that this is an everyday practice that does this. So if philosophy is the activity of reflection about that which passes for truth, and what is asked of a philosopher is to question what passes as truth, then it seems to me that humour at its best is doing a very similar thing. Great humour is blowing apart what passes for truth in the world. Most humour is rubbish and most humour doesn't do that. And that's way you need to be prescriptive, to just say that this is better than that.

-----

The American PEN.

American Center of P.E.N.

0 Reviews

American Center of P.E.N., 1970

Humor in Fiction  by John Updike  18  

 Humor in East and West by Lin Yutang 34

 JUST LOOKING/ Always Looking: Essays on Art. By J...


這本書番翻譯錯誤連篇 不過曾很暢銷

書名/作者	幽默與東西方文學 : 第卅七屆國際筆會論文集 / 林語堂等撰
出版項	臺中市 : 光啓, 民73[1984]
版本項	四版

其他書名	第卅七屆國際筆會論文集
	第...屆國際筆會論文集
	國際筆會論文集
稽核項	197面 ; 19公分
叢書名	文藝叢書; 43
主要叢書	文藝叢書 43
附註	會議日期:民國59年7月29-8月2日,於南韓漢城
譯自	Humour and the east-west literature
ISBN/價格	平裝
其他作者	林 語堂

 幽默與抗爭：新聞人林語堂研究

博士論文

幽默與抗爭：新聞人林語堂研究

• 作者： 錢珺
• 出版社：南京師範大學出版社
• 出版日期：2018/10/01
• 語言：簡體中文

钱珺著的《幽默与抗争--新闻人林语堂研究》是第一本从“新闻人”侧面研究林语堂的专著。对林语堂成为“新闻人”的社会背景和家庭环境的探讨，对林语堂新闻实践历程的梳理和分析；对其新闻与舆论思想的内涵及形成过程的探讨，重点分析了他“舆论产生于民间而非政府”等舆论思想的渊源。

520米雙捷古亭站【永陞林語堂】 | 牯嶺公園首排，書香綠景環繞‎
広告·case.hiyes.tw/海悅台北建案/永陞林語堂‎
‎本書是**本從“新聞人”側面研究林語堂的專著。對林語堂成為“新聞人”的社會背景和家庭環境的探討, 對林語堂新聞實踐歷程的梳理和分析; 對其新聞與輿論思想的內涵及形成過程的探討, 重點分析了他“輿論產生於民間而非政府”等輿論思想的淵源; 在此基礎上, 結合林語堂的具體新聞實踐和相關的思想觀點進行了深入的闡述, 對林語堂在中國新聞輿論領域的學術地位進行了探討和思考, 認為林語堂是一個具有正義感、愛國心、大眾心和創新性的“新聞人”。

幽默與抗爭:新聞人林語堂研究目錄

序言
引言
**章林語堂成長為“新聞人”的背景
**節家庭熏陶與林語堂人生道路的選擇
一、基督教家庭的影響與熏陶
二、在聖約翰大學的得與失
第二節林語堂“成長”的時代背景
一、晚清到民國時期新聞業生態環境的變化
二、傳統向現代轉型的知識分子的出路
第三節特定社會環境下的成長之路
一、文學革命的洗禮
二、開始向雜誌投稿
小結

第二章林語堂的新聞實踐研究
**節林語堂新聞實踐的主要歷程
一、“語絲”時期（1924-1932年）
二、“論語”時期（1932-1936年）
三、抗日時期（1936- 1945年）
四、“無所不談”時期（1965-1967年）
第二節林語堂新聞實踐的主要內容
一、鞭笞北洋軍閥專制及其擁護者
二、抨擊國民黨右派的高壓統治
三、創建相對自由的公共輿論空間
四、宣傳中國抗戰
第三節林語堂新聞實踐的主要特點
一、以“幽默”“中立”反抗惡政現實
二、從精 視角到大眾立場
三、將文學風格引入新聞實踐
四、具有關注當下的新聞意識
五、把個人情感昇華為民族情感
小結

第三章林語堂的新聞與輿論思想研究
**節林語堂新聞思想的主要內容
一、關於新聞功能的思想
二、關於報刊文體的思想
三、關於報刊編輯的思想
四、關於報刊經營的思想
第二節林語堂輿論思想的主要內涵
一、“民間的而非政府的
二、“政府可一時壓製而非能一直壓制
三、“民眾的而非精英的
四、“民意推動社會發展與進步
第三節林語堂新聞與輿論思想的淵源初探
一、辛亥革命後民主自由思想的熏陶
二、西方傳媒理論的浸染
三、中國傳統文人性格的影響
小結

第四章新聞人林語堂的學術地位與歷史評價
**節輿論史研究開我國輿論研究之先河
一、研究成果的學術價值
二、產生的社會影響
三、研究的不足之處
第二節新聞人林語堂的歷史貢獻
一、報刊文體創新影響後人
二、對軍閥和國民黨專制的控訴應充分肯定
三、海外抗日宣傳產生了重要影響
第三節新聞 人林語堂的局限性
一、未能一以貫之實踐新聞自由的主張
二、對國情和政黨的認識不夠全面客觀
小結
結語多側面的新聞人林語堂
參考文獻
附錄林語堂新聞活動年表
後記

　錢珺，江蘇無錫人，南京師範大學新聞學博士。現為南京師範大學新聞與傳播學院副教授、南京師範大學民國新聞史研究所特約研究員。主要研究方向為中國新聞史、新聞與廣告倫理、馬克思主義文藝理論等。近年來主持江蘇省高校哲學社會科學項目1項、校級課題5項，並作為主要成員參與國家社會科學基金重大項目、一般項目的研究工作。在《現代傳播：中國傳媒大學學報》《福建師範大學學報（哲學社會科學版）》《新聞界》《教育理論與實踐》等發表學術論文十餘篇，獲省級優秀論文獎二等獎。

Bibliography

[edit]

• Zen in English Literature and Oriental Classics, The Hokuseido Press, 1942, reprint 1996; Dutton 1960, ISBN 0525470573; Angelico Press 2016, ISBN 978-1621389736
• Haiku, in Four Volumes, Volume 1: Eastern Culture. Volume 2: Spring. Volume 3: Summer-Autumn. Volume 4: Autumn-Winter. The Hokuseido Press, 1949–1952; Reprint The Hokuseido Press/Heian International, 1981, ISBN 0-89346-184-9; Reprint Angelico Press, 2021, ISBN 978-1621387220
• Senryu: Japanese Satirical Verses, The Hokuseido Press, 1949; Reprint Greenwood Press, 1971 ISBN 0-8371-2958-3
• Translation: Japanese Cookbook (100 Favorite Japanese Recipes for Western Cooks) by Aya Kagawa, D.M., Japan Travel Bureau, 1949, 14. print Rev.&Enlarged 1962, 18. print Enlarged 1969
• A First Book of Korean, by Lee Eun and R. H. Blyth, The Hokuseido Press, c. 1950, Second Improved Edition, 1962
• A Shortened Version of A Week on the Concord and Merrimack Rivers by Henry David Thoreau with Introduction and Notes by R. H. Blyth, The Hokuseido Press, (1951)
• Buddhist Sermons on Christian Texts, Kokudosha 1952; Heian International, 1976, ISBN 978-0-89346-000-6
• Ikkyu's Doka; in: The Young East, Vols II.2 - III.9, Tokyo, 1952–1954; Reprint in: Blyth, Zen and Zen Classics, Vol. 5, 1966
• Japanese Humour, Japan Travel Bureau, 1957
• A Survey of English Literature, from the Beginnings to Modern Times, The Hokuseido Press, 1957
• Oriental Humour, The Hokuseido Press, 1959(a)
• Humour in English Literature: A Chronological Anthology, The Hokuseido Press, 1959(b); Reprint Folcroft Library Editions, 1973, ISBN 0-8414-3278-3
• Japanese Life and Character in Senryu, The Hokuseido Press, 1960.
• Edo Satirical Verse Anthologies, The Hokuseido Press, 1961; Heian International 1977, ISBN 9780893460150
• A History of Haiku in Two Volumes. Volume 1: From the Beginnings up to Issa, 1963, ISBN 0-9647040-2-1. Volume 2: From Issa up to the Present, The Hokuseido Press, 1964, ISBN 0-9647040-3-X
• Zen and Zen Classics, in Five Volumes (planned set of 8 Volumes), Volume 1: General Introduction, from the Upanishads to Huineng, 1960, ISBN 0-89346-204-7; also reprinted as 'What is Zen? General Introduction…', ISBN 4590011301. Volume 2: History of Zen (Seigen Branch),1964, ISBN 0-89346-205-5. Volume 3: History of Zen (cont'd) (Nangaku Branch), 1970 (posthumous; edited by N.A. Waddell and N. Inoue). Volume 4: Mumonkan, 1966 (posthumous); reprint 2002 under the title 'Mumonkan - The Zen Masterpiece'. Volume 5: Twenty-Five Zen Essays (wrong subtitle on Dust Jacket 'Twenty-Four Essays'), (first published as Volume 7, 1962), reprinted 1966, ISBN 0-89346-052-4. The Hokuseido Press
• Translation: Ikkyu's Skeletons (with N. A. Waddell), in: The Eastern Buddhist, N.S. Vol. VI No. 1, May 1973
• Poetry and Zen: Letters and Uncollected Writings of R. H. Blyth. Edited by N. A. Waddell, Shambala Publ., 2022, ISBN 978-1-61180-998-5

Selection:

• Games Zen Masters Play: Writings of R. H. Blyth, Edited by Robert Sohl and Audrey Carr, Signet, 1976, ISBN 9780451624161
• Selections from R.H. Blyth, Zen and Zen Classics. Compiled and with Drawings by Frederick Franck, Vintage Books, 1978, ISBN 0-394-72489-5
• Essentially Oriental. R. H. Blyth Selection, Edited by Kuniyoshi Munakata and Michael Guest, Hokuseido Press, 1994, ISBN 4-590-00954-4
• The Genius of Haiku. Readings from R. H.Blyth on poetry, life, and Zen. With an Introduction by James Kirkup, The British Haiku Society, 1994, ISBN 9780952239703; The Hokuseido Press, 1995, ISBN 4-590-00988-9

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