Wednesday, February 29, 2012

Perichoresis is the Divine Dance

Peri - around Chorea - dance, cf Choreography Perichorea - To dance around... (Mat. 11:17;Luk. 7:32) Perichoresis is the Divine Dance. The Divine Dance of the persons of the Trinity. In the beginning was the Dance, and the Dance was in God, and the Dance was God... An eternal Dance; the three persons of the Godhead dancing eternally, in an embrace of love, mutually giving and receiving. Always dancing. In the beginning God created a Dancing partner... The world was created in its own dance, and invited to join the Dance. But the lead dancers said No! and started their own dance. The hands of God are extended to restore the Dance, and inviting us to Dance: The Son, and the Spirit, the two hands of God. The Dance for us has a beginning, and an end, and they are not the same. The beginning starts with anticipation, expectation, and desire; the end concludes with satisfaction, completion, and rest - until the next Dance. We look upon the Dance of God, as he ever circles about us. We try to understand. We so often fail. The Dance goes on, and the part we have in the Dance goes on, though we are not Dancing, only dancing, yet that dancing seems to be incorprated despite our best efforts. We look, and the Dance seems to change, to reverse, to go back on itself - it repented the Lord that... - and then the Dance goes on, seeking it's goal, never seeking return to the starting point - I the Lord change not. This is the nature of Dance: round and round you go, sometimes to and sometimes fro, but the Dance goes on. And us? Some of us sit as wallflowers. We won't dance under any circumstances. Some of us are dancing around our handbags in our own dance, while the Dance wheels about us. We dance on our own. But dances are communal, not individual, everyone knows that. Dances are free, though structured: God's Line Dancing. Will you join the Dance? God's two hands, The Son and Spirit, await you, pull you, invite you, to take you into the Dance, to wheel you about, make you dizzy at times, exhilerated at times, exhausted at times, fearful at times. But it is The Dance. I am the Lord of the Dance said he... A few thoughts on reading Colin Gunton's The Promise of Trinitarian Theology. ==================== 「探戈」是一種講求韻律節拍,並且舞者的腳步必須相互協調的舞蹈。 親子、朋友、同窗、上下之間,何嘗不是要用跳探戈的方式彼此相處,有進有退,才能恰到好處。 總而言之,人我相處之道就是要彼此跳探戈。

Perichoresis, To dance around...

Perichoresis (or Circuminsession or Interpenetration) is a term in Christian theology first found within the Church Fathers but now reinvigorated among contemporary figures such as C. Baxter Kruger, Jurgen Moltmann, Miroslav Volf and John Zizioulas, amongst others. The term first appears in Gregory of Nazianzus but was explored more fully in the work of John of Damascus. It refers to the mutual inter-penetration and indwelling within the threefold nature of the Trinity, God the Father, the Son and the Holy Spirit. The ecumenical Christian doctrine of the incarnation emphasizes that Jesus' two natures (ousias) fully "coinhere" in one person (hypostasis) in Jesus of Nazareth. Jesus, then, is said to be fully divine and fully human, and never one ousia (nature) alone. ------------------ Perichoresis 在基督徒神學提到相互互相貫通和存在父親并且兒子. 教條根據約翰的福音書那 「父親是在兒子和兒子在父親」。 關係 三位一體上帝 由關係增強 perichoresis. 這存在表達并且體會同伴關係在父親和兒子之間。 它是親熱。 耶穌 與他的教會同伴關係的統一性比較這存在的統一性從這存在。 「那他們全都也許是一; 作為thou、父親、藝術在我和I在thee,他們也許也是一个在我們(約翰・ 17:21)。「 神學傳統觀看了存在作為同伴關係。 大馬士革的約翰是顯要的在開發教條 perichoresis描述它作為「一起劈開」。 這樣是同伴關係在 神性 父親和兒子也不僅擁抱自己,但他們加入彼此,滲入自己和居住在彼此。 一在是,他們也是總一个在他們的友誼親熱。 這親熱是獨特的 家庭. 作為 聖潔家庭父親和兒子加入彼此并且居住,不僅與,而且在彼此。 熱愛互相他們自己在精神上由父親和兒子有內容。 不僅 隊伍 精神從父親到兒子和從兒子到父親表現出他們的相互愛,他們在彼此以後呼吸,而且它給其中每一其他。 在精神的隊伍從父親,父親給自己兒子; 在精神的隊伍從兒子到父親,兒子給自己父親, 為精神的隊伍,像 產生 兒子,是去父親的生存兒子和去兒子的生存父親 聖靈. 要提出精神作為聖潔家庭的同伴關係不是建議第三人稱的劣等。 它簡單地是精神的獨特的事情根據 聖經 并且,因而真實和生活的獨特 上帝. 如果有因而被設想的精神的有些匿名, 基督徒信念 與父親和兒子比較的更加鋒利的特點和更加清楚的身分認可了這相對匿名。 這是依據在不容置疑的現實的神性在球形 救世 精神不引起對他自己的注意。 Pentecost的精神-第三人稱 三位一體 -給教會知識,愛為和同伴關係與兒子,耶穌基督和由他與父親。 (馬特・ 11:27; 約翰・ 16:7 - 16) ------------------ The relationship of the Triune God is intensified by the relationship of perichoresis. This indwelling expresses and realizes fellowship between the Father and the Son. It is intimacy. Jesus compares the oneness of this indwelling to the oneness of the fellowship of his church from this indwelling. "That they all may be one; as thou, Father, art in me, and I in thee, that they also may be one in us (John 17:21)." The theological tradition has viewed the indwelling as fellowship. John of Damascus, who was influential in developing the doctrine of the perichoresis, described it as a "cleaving together." Such is the fellowship in the Godhead that the Father and the Son not only embrace each other, but they also enter into each other, permeate each other, and dwell in each other. One in being, they are also always one in the intimacy of their friendship. ------------------ 舞蹈卡​​是一個小的小冊子,通常皮覆蓋,列出的歌曲,樂團將演奏整個舞蹈或球的。通常18-24歌曲播放。 連接到舞蹈卡鉛筆,先生們會用自己的名字寫在卡 -旁邊的一塊特定的音樂,他們希望一起跳舞的少女。 一個字符串或色帶上有一個鉤子也向舞蹈卡,讓少女穿在她sleeve.100歲的舞蹈卡袖口卡 這是紳士跳舞的少女,她簽約的舞蹈卡,使初始請求。 然而,這是少女繼續表示有興趣這樣做的求愛。 有一個程序的小冊子,為最有可能與皇室家族開始了舞蹈的想法 他想用這種書面文件作為機制,以提高知名度和認可度(和重要性)的國王,王后和他們的繼承人。 帝國的家庭可以買得起委員會的藝術家來設計和製造非常優雅的舞蹈卡。 一舞蹈卡(或Ballspendens)的主要製造商,在維也納奧地利八月克萊 誰設計和製造的皇室舞蹈卡。 維也納華爾茲的城市,是社會階層的中心。 舉例來說,這幾乎有一半的人口在1830年的維也納,近20萬人, 在大齋期前一周將參加某種形式的舞蹈。 也許這是這一時期“馬蒂·格拉斯”。 約翰·施特勞斯的最認可的作曲家,在1800年中期“。 他的“藍色多瑙河”圓舞曲“,建立了舞的速度顯著。 其他作曲家,維也納舞蹈音樂包括舒爾茨,Musard,和Lumbye的。 值得一提: 朱莉·安德魯斯特色的音樂聲中,你也許還記得, 馮特普上校家中舉行了一個正式的舞。 奧地利人被稱為為他們精心製作的舞蹈,特別是華爾茲。 舞蹈是文化的一部分,與年輕人接受指令 在舞廳跳舞開始在兒童早期的藝術。 A dance card or programme du bal (also known by its German-language name, Tanzkarte) is used by a woman to record the names of the gentlemen with whom she intends to dance each successive dance at a formal ball. They appear to have originated in 18th century, but their use first became widespread in 19th century Vienna, especially at the massive balls during Fasching before Lent. An actual dance card is typically a booklet with a decorative cover, listing dance titles, composers, and the person with whom the woman intended to dance. Typically, it would have a cover indicating the sponsoring organization of the ball and a decorative cord by which it could be attached to a lady's wrist or ball gown. From the 19th century until World War I, dance cards for the elite of Austria-Hungary were often very elaborate, with some even incorporating precious metals and jewels. In modern times the expression "dance card" is often used metaphorically, as when someone says "pencil me into your dance card," meaning "find some time to spend with me". Conversely, someone's "dance card is full" implies that even though they may be interested, they have no time for another person. ------------------ 國際標準舞涵盖了十个舞种,且必須二人共舞 摩登舞有华尔兹, 探戈, 狐步, 快步, 维也纳华尔兹. 拉丁舞有伦巴, 恰恰, 桑巴, 斗牛和牛仔. ------------------ Dance engagements card for 11 January 1887, showing a list of all the dances for the evening - valse, polka, lancers and quadrille; opposite each dance is a space to record the name of the partner for that dance. After the event the card was probably kept as a souvenir of the evening ------------------ Did you ever wonder where the phrase, “Sorry, but my dance card is full.” comes from? Do you even know what a dance card is, or how a dance card was used? A dance card was a small booklet, usually leather covered, that listed the songs that an orchestra would play throughout a dance or Ball. Typically 18-24 songs would be played. Attached to the dance card was a pencil that gentlemen would use to write their names in the card – next to the specific piece of music to which they wished to dance with the maiden. A string or ribbon with a hook on it was also attached to the dance card, allowing a maiden to wear the card on the cuff of her sleeve.100-year-old dance card It was up to the gentleman to make the initial request to dance with a maiden, by signing her dance card. However, it was up to the maiden to continue the courtship by indicating interest in doing so. The idea of having a program booklet for a dance most likely started with royal families who wanted to use such written documents as mechanisms to enhance the visibility and recognition (and thus the importance of) the King, Queen and their heirs. Imperial families could afford to commission artists to design and manufacture very elegant dance cards. A major manufacturer of Dance Cards (or Ballspendens) in Vienna, Austria was August Klein who designed and made dance cards for the Imperial Family. Vienna, the city of the waltz, was the center of social class. For instance, in the 1830’s almost half the population of Vienna, nearly 200,000 people, would attend a dance of some sort during the week before Lent. Perhaps this was the “Marti Gras” of that period. Johann Strauss was the most recognized composer during the mid 1800”s. His “Blue Danube Waltz” is notable in establishing the tempo of the Ball. Other composers of music for Viennese dances included Schultze, Musard, and Lumbye. Noteworthy: In The Sound of Music featuring Julie Andrews, you may recall that a formal ball was held in the home of Captain Von Trapp. Austrians were known for their elaborate dances, especially the waltz. Dancing was part of the culture with young people receiving instruction in the art of ballroom dancing starting in early childhood. ------------------ Periaktos (plural form Periaktoi, from Greek revolving) is a device used for displaying and rapidly changing theatre scenes. It was first mentioned in Vitruvius' book on architecture, De architectura (ca. 14 BC) but its most intense use began in Renaissance theatre, as a result of the work of important theatrical designers, such as Nicola Sabbatini (1574-1654). Other solid polygons can be used, such as cubes, but triangular prisms offer the best combination of simplicity, speed and number of scenes per device. It consists of a revolving solid isosceles triangular prism made of wood. On each of its three faces, a different scene is painted, so that, by revolving quickly the periaktos, another face can appear to the audience. A series of periaktoi positioned one after the other along the stage's depth can produce the illusion of a longer scene, composed by its faces as seen in perspective. These periaktoi must therefore be rotated simultaneously to a new position, thus achieving interesting illusions. This is made by coupling them by using sprocket gears at their bases and a flat chain or conveyor belt mechanical transmission system. A similar concept is used in some modern tri-faced multi-message billboards, which are made up of a series of triangular prisms arranged so that they can be rotated to present three separate flat display surfaces at the same time. Early motion picture mechanical devices, such as the praxinoscope, were also based on rapidly rotating solid polygons, which had the successive animation or photographic plates affixed or projected to each face, thus providing the optical illusion of movement. ------------- praxinoscope 夏爾-埃米爾·雷諾(Charles-Émile Reynaud,1844年12月8日-1918年1月9日), 法國發明家、藝術家,第一部動畫電影的創造者。 1876年,雷諾決定為一個孩子製作一個光學玩具,在轉盤活動影像鏡(Phenakistiscope)和西洋鏡(Zoetrope)的基礎上, 1877年,他設計了活動視鏡(Praxinoscope,亦有譯成「實用鏡」),並於1877年12月21日申請了專利。 該設計用12面鏡子拼成圓鼓形,彩色的圖片條裝在其中,當玩具旋轉的時候,反射出每一幅圖片,而不需要複雜的機械裝置。 圖片條展現了清晰、明亮、不失真的動畫效果,並且沒有抖動。 他在巴黎租了一套公寓,將活動視鏡商業生產,在1878年巴黎世界博覽會展出,引起轟動。 1888年12月發明光學影戲機(Théâtre Optique)。 1892年,他的第一部動畫電影《可憐的比埃洛》(Pauvre Pierrot)在巴黎蠟像館放映。 這部電影也是第一部膠片邊上打孔的電影。 The praxinoscope was an animation device, the successor to the zoetrope. It was invented in France in 1877 by Charles-Émile Reynaud. Like the zoetrope, it used a strip of pictures placed around the inner surface of a spinning cylinder. The praxinoscope improved on the zoetrope by replacing its narrow viewing slits with an inner circle of mirrors, placed so that the reflections of the pictures appeared more or less stationary in position as the wheel turned. Someone looking in the mirrors would therefore see a rapid succession of images producing the illusion of motion, with a brighter and less distorted picture than the zoetrope offered. In 1889 Reynaud developed the Théâtre Optique, an improved version capable of projecting images on a screen from a longer roll of pictures. This allowed him to show hand-drawn animated cartoons to larger audiences, but it was soon eclipsed in popularity by the photographic film projector of the Lumière brothers. -------------------- Quaker (1)貴格,美國費城(Philadelphia)的別稱。 (2)基督教貴格會,也稱公誼會;Quake 這個字本身就有顫抖、顫動的意思, 創始人喬治.福克斯(George Fox)要求教徒們,在祈\中念到「主」的時候,聲音及身體皆要顫動一下,因此才被稱作Quaker貴格會。 貴格會原名朋友會或公誼會(Society of Friends),顧名思義乃彼此為友之意。 發起人George Fox, 1624-1691。於受審時,誡告法官應聞上帝的道而戰栗,故人戲呼之為戰栗者( Quakers)。 中文貴格會譯音。該會著名政治家是烹威廉(William Penn, 1644-1718),為美國賓州(Pennsylvania)的建立者。 當時其他白人與土人印第安人常互相殘殺,惟有他和朋友會同人則與土人締結條約,和平相處, 福祿特爾(Voltaire)稱此條約為唯一未經宣誓並永未破壞的條約。 該會唯一的著名神學家為巴克雷(Robert Barclay, 1648-1690)。 貴格會的人數不多,但以救濟事業,慈善事業,改良監獄,釋放奴隸,申張宗教自由,反對戰爭,蜚聲於世。 他們的宗教信仰注重內心之光,反對拘泥形式,所以他們的教會 沒有牧師職分,崇拜沒有固定儀式,但由會眾隨感發言,或唱詩,或祈禱,若無人發言,則靜坐而散,又因偏重內心,故聖洗聖餐亦在廢棄之列。 他們雖趨於急進,可是他們仍持守基督教的其他信仰,並效早期基督徒所為,用辯護的文字闡明他們的主張,答辯敵人惡意的攻擊。 此類作品中最重要的要推巴克雷所著十五條。 ------------------------- 震顫派Shaker 震颤派,基督教新教派之一,原先是起源于英国的公谊会(Society of Friends),后来分支到美国才成为新教派, 主要是因为在做礼拜、祈祷时,教徒多会因为得感应而全身震颤不已,因此得名。Shakerism 指震颤派教会的教义及礼拜仪式。 震教徒;信徒会:1747年源于英国之基督教派,主张共有财产,强调独身,以舞蹈为敬礼上帝方式之一, 故名震教徒,又俗称ShakingQuakers,但与Quaker贵格会不同;原名为信徒会Society of Believers。 The Vow of Celebracy celibate 意為"(因宗教信仰)而獨身禁慾-not married and...

Monday, February 27, 2012


有一个传统相声段子名叫《羊上树》,顾名思义,这个段子讲的就是羊能上树这件听起来很不靠谱的事。 但恐怕相声艺人们不曾晓得,这世上还真有会上树的羊。 就在摩洛哥南部一望无际的撒哈拉大沙漠中, 一群群山羊有的趴在树干上,有的站在树枝上,有滋有味地咀嚼着树叶,呈现一幕“羊上树”的奇景。 由于当地气候炎热干燥、寸草难长,仅分散着一些耐旱耐高温,适于南部撒哈拉大沙漠气候的灌木林。 当地的山羊在缺少水源,缺少草地的条件下为求生存,便慢慢学会了上树的本领, 最终它们能够在树上轻松攀登、跳跃,甚至站立在枝头上。

Monday, February 20, 2012


陳政弘醫師說,即使是死刑犯,也是值得免費幫他裝假牙。 陳政弘醫師說,前往北所作特約門診並不在他的人生規畫之內, 40多年來,他一直從事大學生的福音工作,目前是晨曦會的董事, 他說:「蕭仁俊是我的弟兄,因為上帝感動我做這件事。」 「反正遲早都要被槍斃,何必要醫? 」 更生團契總幹事黃明鎮牧師表示,這是獄中許多死刑犯面對病痛的普遍心理。 但黃明鎮認為,每個人、包括死刑犯都應尊重生命、尊重自己,有生命可活的時候就該珍惜, 有病痛還是該就醫,監獄院所也會尊受刑人權利,讓受刑人就醫。 全文網址: 牙醫師陳政弘:即使是死囚也值得 | 死囚等死的日子

Thursday, February 16, 2012

迷你鳴鳥─穗即鳥(Oenanthe oenanthe)

科學家報導,1隻體重僅相當於2茶匙糖的迷你鳴鳥─穗即鳥(Oenanthe oenanthe),可以從北極飛到非洲再折返,來回飛行距離長達2萬9000公里。 這隻鳥學名為穗鳥來自北方,重量僅25公克,是營養不良的鳥才會有的重量。但追蹤這隻褐白色小鳥的生物學家都對牠的飛行耐力大感吃驚。 生物學家在阿拉斯加州以及加拿大東北巴芬島,把46隻穗鳥腳上綁上重僅1.2公克的極小型地理紀錄器。其中阿拉斯加州的穗鳥在非洲過冬,之後飛回棲地,單程距離約1萬4500公里,平均1天飛290公里。 牠們飛越西伯利亞,穿過阿拉伯沙漠,接著飛到蘇丹、烏干達和肯亞,去程花了91天,回程則是55天。 而巴芬島的穗鳥飛過北大西洋,抵達英國,接著繼續南飛,跨越歐洲大陸、地中海和撒哈拉沙漠,最後到西非茅利塔尼亞海岸過冬,去程費時26天,回程耗時55 天,距離約7500公里。 加拿大安大略省圭爾夫大學的諾瑞斯表示:「牠們的遷徙旅程非常驚人,尤其是對這種小型鳥來說。」 科學家表示,大家比較熟悉杜鵑和信天翁等翼展較大的鳥類可以進行跨陸遷徙,但最新的這份研究證明,就算是體型小的鳴鳥也有這般能耐。 全文網址: 小小穗鳥過冬 長飛2萬9千里 | 國際萬象 | 全球觀察 | 聯合新聞網 Power By

Friday, February 10, 2012

mission city

永珍(Vien tiane,中譯萬象, 新马台港澳译为永珍),寮人民民主共和國的首都。 以前叫文單或雍田,即是撣族之城。在塞塔提臘王時成為寮國首都。 永珍早於於公元前4世紀已被建立。 公元14世紀灁滄王朝立國以來,永珍在十六世紀是寮國的首都和經濟中心(之前是瑯勃拉邦為避緬甸遷都)。 當1707年灁滄王國滅亡,永珍變成寮國其中一個分裂小國。1779年暹羅入侵寮國,永珍變成暹羅之附庸。 十九世紀初永珍叛亂,卻被暹羅平定,永珍被夷為平地,所有文物包括佛像,皆被洗劫一空。 二十世紀初永珍被到來之法國人修繕,成為法國殖民時代之首府。至二次大戰後寮國獨立,永珍依舊是寮國之首都。


中国父母最易犯的10大错误   探索教育的真理,既是为了有益于下一代,也是为了提高自己。 当我们掌握了教育的奥秘时,我们就有可能造就自己,也有可能造就我们的孩子。 同时,就因为小孩非常敏感,所以也特别容易造就他们。   1、让他人带孩子   很多中国父母以为孩子只要身边有人看着,没有生命危险就好。其实从出生开始,孩子就需要交流,如拥抱、关注的眼光、对他说话等。交流会让孩子变得比较聪明、有安全感。   2、把孩子当作比较的对象   有的父母常常说,你看人家的孩子多用功,成绩多好,人家的孩子又得了什么奖。这种比较最要不得,只能带给孩子不满和痛苦。   3、不尊重孩子隐私和权利   很多父母不把孩子当成拥有完整权利的个体,导致很多不良后果。父母进入子女的房间应该先敲门,移动或使用孩子的东西应该得到孩子的允许,牵涉到子女的决定应该和子女商谈,不要随意查看子女的日记……应该尊重孩子的所有权利。不被尊重的人以后也不知道尊重别人。   4、把孩子塑造成自己想要的样子   很多父母把自己一生的遗憾寄托在孩子身上,逼孩子往自己以为正确的路上走。在这种压力下,孩子变得不快乐。   5、把学习成绩当唯一指标   很多家长认为孩子越用功越好,以学习成绩代表一切。其实,全面的能力、活力、毅力、性格、才是影响孩子一生的重要因素。   6、以为早起好,否则是懒惰   很多孩子6点就起床,每天睡不足8小时,而家长还在坚持早起才健康的错误观念,其实成长中的孩子需要充分的睡眠,睡眠不足会影响发育。   7、认为孩子不该做家务,该把时间拿来学习   社会学家调查的结果表明,在家常做家务的孩子将来生活比较幸福,处理事情的能力比较强,更能面对挫折。剥夺孩子做家务的机会,就剥夺了他学习分担责任、面对问题的机会。   8、缺乏幽默和轻松   父母因为生活压力,失去了幽默感,失去了轻松。亲子之间在这种缺乏轻松和幽默的气氛中,一个小挫折就会引发冲突。   9、对子女提出不合理要求   亲子之间,爱并不是为所欲为的借口,父母的要求应该合理,让孩子心服口服。   10、认为养孩子是艰苦义务   中国父母习惯把养育孩子当成艰苦的义务,常常暗示或明示子女要回报、孝顺父母,正确的态度是应该把养育孩子当作一种享受。

Wednesday, February 8, 2012

Friday, February 3, 2012


美國富樂頓華裔老人赴美探親月余短暫失蹤一天后驚傳自殺,震撼華裔小區。 沒有得到證實的消息稱,案發前,老人曾向家人表示“住不慣美國”,骨肉親情與殘酷現實的巨大落差,讓人唏噓。   按美國聯邦十年一次的全美人口普查,華裔移民是最近20年南加州各族裔中人口成長最為迅速的族裔之一, 近年中國遊客井噴式赴美,華人留學生大批湧入,更使得兩岸三地華人移民和流動人口大幅增加。 而讓年邁的父母們赴美走走看看、享享清福,更是成千上萬華人移民的千千心結, 於是兩岸三地每天往返美中兩地的航班上,銀髮族比比皆是。   許多華人父母從一下飛機,就面臨着“異國他鄉”的挑戰。 “怎樣讓父母在美國愉快生活”,也成為許多華人移民孝順父母的課題。   “孩子們在美國工作忙碌,大大超過我們想象”,許多華人父母表示, 尤其是許多尚要為生活打拼的孩子,朝九晚五上班,老人只能被迫獨自留守家中。 每天看完中文報紙看中文電視,出門語言不通,交通不便,想吃頓中餐都得等孩子回家。 好不容易眼巴巴盼到夜幕降臨,回家的孩子已是滿身疲憊。 許多體諒孩子的父母,甚至有病強忍着,有苦不輕言,尤其是一些失去老伴獨自赴美依親的老人,甚至連心裏話都難以說得徹底。   一對來自武漢的老年父母表示,他們中年時千辛萬苦存錢送孩子出國留學, 孩子離開將近十年之後,頭已花白的老倆口終於踏上了美國領土。 “但在美國100天,真正與女兒在一起的時間大概加起來不超過一周”, “孩子太忙”,老人非常體諒自己的兒女,從不輕言身心的不適與不安,直到有一天老人卧床不起,孩子追悔不已。   有孩子的地方就是家,“我們不在乎粗茶淡飯,只求能跟孩子多待一會”, 不少華人父母表示,但即便這麼低的要求,在美國也屬奢華。 許多父母滿心歡喜而來,最後卻只能在無可奈何中求去。