十二月 2009

Monthly Archive

也談 Tiger Woods

Posted by on 31 十二月 2009 | Tagged as: 浩氣

我不好高球,但早就知道Tiger Woods 是高球的No.1,但他或勝或負我一向不關心,自至Tiger Woods 成了公司的icon,之後見到他比賽心裡就為他打氣。可惜最近花邊新聞先後有十幾位女士表示曾與Tiger Woods有艷,形象破產,幾星期前公司出了通告,表示己停止贊助關係,心裡有一陣感嘆。

借村上春樹的話:

“在一座高大堅實的牆和與之相撞的雞蛋之間,我永遠都站在雞蛋的一側”。

是的,無論牆是多麽的正確,雞蛋是多麽地錯誤,我都站在雞蛋的一側。其他人可能會判斷誰是誰非,也許時間或歷史會來判斷。但是,如果一個小說家無論因何種原因站在牆的一側來創造,那麽他的作品的價值何在呢?

在這醜聞中,Tiger Woods 是雞蛋,大眾的道德判斷是一座高大堅實的牆,我雖不是小說家,但作為一個男人,我要為 Tiger Woods 講兩句。以Tiger Woods 的身分地位,加上其運動員的體格,有錢有面有心有力,女人真是手到拿來,期望他貞潔,就如期望古時皇帝沒有妃嬪一樣無知,又或者是中了金多寶但唔俾shopping一樣不人道。老實講,Tiger Woods 又不是基督徒,尋花問柳,逄場作慶,完全是意料之內。其二,現在美國人都不將神放在眼內,公立學校不容許禱告,傳媒鼓勵同性戀,大眾憑甚麼去判評Tiger Woods呢?說穿了,是妒忌。

村上春樹領耶路撒冷文學獎演詞 – Always on the side of the egg

Posted by on 31 十二月 2009 | Tagged as: 浩氣

村上春樹領耶路撒冷文學獎時是今年年頭,當時以色列以壓倒性的軍力攻擊加沙,造成大量巴勒斯坦平民傷亡。最近因劉曉波受重判一事,練乙錚在信報推介這篇演詞,一讀之下果然有料到,我雖然不認同當中的「雞蛋論」,但絕對是演詞的範文,要記下。

Good evening. I have come to Jerusalem today as a novelist, which is to say as a professional spinner of lies.

Of course, novelists are not the only ones who tell lies. Politicians do it, too, as we all know. Diplomats and military men tell their own kinds of lies on occasion, as do used car salesmen, butchers and builders. The lies of novelists differ from others, however, in that no one criticizes the novelist as immoral for telling them. Indeed, the bigger and better his lies and the more ingeniously he creates them, the more he is likely to be praised by the public and the critics. Why should that be?

My answer would be this: Namely, that by telling skillful lies – which is to say, by making up fictions that appear to be true – the novelist can bring a truth out to a new location and shine a new light on it. In most cases, it is virtually impossible to grasp a truth in its original form and depict it accurately. This is why we try to grab its tail by luring the truth from its hiding place, transferring it to a fictional location, and replacing it with a fictional form. In order to accomplish this, however, we first have to clarify where the truth lies within us. This is an important qualification for making up good lies.
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Today, however, I have no intention of lying. I will try to be as honest as I can. There are a few days in the year when I do not engage in telling lies, and today happens to be one of them.

So let me tell you the truth. A fair number of people advised me not to come here to accept the Jerusalem Prize. Some even warned me they would instigate a boycott of my books if I came.

The reason for this, of course, was the fierce battle that was raging in Gaza. The UN reported that more than a thousand people had lost their lives in the blockaded Gaza City, many of them unarmed citizens – children and old people.

Any number of times after receiving notice of the award, I asked myself whether traveling to Israel at a time like this and accepting a literary prize was the proper thing to do, whether this would create the impression that I supported one side in the conflict, that I endorsed the policies of a nation that chose to unleash its overwhelming military power. This is an impression, of course, that I would not wish to give. I do not approve of any war, and I do not support any nation. Neither, of course, do I wish to see my books subjected to a boycott.

Finally, however, after careful consideration, I made up my mind to come here. One reason for my decision was that all too many people advised me not to do it. Perhaps, like many other novelists, I tend to do the exact opposite of what I am told. If people are telling me – and especially if they are warning me – “don’t go there," “don’t do that," I tend to want to “go there" and “do that." It’s in my nature, you might say, as a novelist. Novelists are a special breed. They cannot genuinely trust anything they have not seen with their own eyes or touched with their own hands.

And that is why I am here. I chose to come here rather than stay away. I chose to see for myself rather than not to see. I chose to speak to you rather than to say nothing.

This is not to say that I am here to deliver a political message. To make judgments about right and wrong is one of the novelist’s most important duties, of course.

It is left to each writer, however, to decide upon the form in which he or she will convey those judgments to others. I myself prefer to transform them into stories – stories that tend toward the surreal. Which is why I do not intend to stand before you today delivering a direct political message.

Please do, however, allow me to deliver one very personal message. It is something that I always keep in mind while I am writing fiction. I have never gone so far as to write it on a piece of paper and paste it to the wall: Rather, it is carved into the wall of my mind, and it goes something like this:

“Between a high, solid wall and an egg that breaks against it, I will always stand on the side of the egg."

Yes, no matter how right the wall may be and how wrong the egg, I will stand with the egg. Someone else will have to decide what is right and what is wrong; perhaps time or history will decide. If there were a novelist who, for whatever reason, wrote works standing with the wall, of what value would such works be?

What is the meaning of this metaphor? In some cases, it is all too simple and clear. Bombers and tanks and rockets and white phosphorus shells are that high, solid wall. The eggs are the unarmed civilians who are crushed and burned and shot by them. This is one meaning of the metaphor.

This is not all, though. It carries a deeper meaning. Think of it this way. Each of us is, more or less, an egg. Each of us is a unique, irreplaceable soul enclosed in a fragile shell. This is true of me, and it is true of each of you. And each of us, to a greater or lesser degree, is confronting a high, solid wall. The wall has a name: It is The System. The System is supposed to protect us, but sometimes it takes on a life of its own, and then it begins to kill us and cause us to kill others – coldly, efficiently, systematically.

I have only one reason to write novels, and that is to bring the dignity of the individual soul to the surface and shine a light upon it. The purpose of a story is to sound an alarm, to keep a light trained on The System in order to prevent it from tangling our souls in its web and demeaning them. I fully believe it is the novelist’s job to keep trying to clarify the uniqueness of each individual soul by writing stories – stories of life and death, stories of love, stories that make people cry and quake with fear and shake with laughter. This is why we go on, day after day, concocting fictions with utter seriousness.

My father died last year at the age of 90. He was a retired teacher and a part-time Buddhist priest. When he was in graduate school, he was drafted into the army and sent to fight in China. As a child born after the war, I used to see him every morning before breakfast offering up long, deeply-felt prayers at the Buddhist altar in our house. One time I asked him why he did this, and he told me he was praying for the people who had died in the war.

He was praying for all the people who died, he said, both ally and enemy alike. Staring at his back as he knelt at the altar, I seemed to feel the shadow of death hovering around him.

My father died, and with him he took his memories, memories that I can never know. But the presence of death that lurked about him remains in my own memory. It is one of the few things I carry on from him, and one of the most important.

I have only one thing I hope to convey to you today. We are all human beings, individuals transcending nationality and race and religion, fragile eggs faced with a solid wall called The System. To all appearances, we have no hope of winning. The wall is too high, too strong – and too cold. If we have any hope of victory at all, it will have to come from our believing in the utter uniqueness and irreplaceability of our own and others’ souls and from the warmth we gain by joining souls together.

Take a moment to think about this. Each of us possesses a tangible, living soul. The System has no such thing. We must not allow The System to exploit us. We must not allow The System to take on a life of its own. The System did not make us: We made The System.

That is all I have to say to you.

I am grateful to have been awarded the Jerusalem Prize. I am grateful that my books are being read by people in many parts of the world. And I am glad to have had the opportunity to speak to you here today.

Thank you very much.

中譯取自:http://calcutec.blogspot.com/2009/03/always-on-side-of-egg.html

各位晚上好,我今天作為一名小說家來到耶路撒冷的,也就是說一名職業謊言製造者。

當然,並不是只有小說家才說謊的。政治家也說謊,正如大家所知道的。外交官和將軍有時也要說著他們自己的謊言,就如同二手車推銷員、劊子手以及建築師一樣。但是,小說家的謊言與其他人不一樣,因爲沒有人會批評小說家,稱他們說謊不道德。實際上,小說家的謊言說得越大越好,編造謊言的能力越高明,他才更可能受到公衆和評論家的認可和好評。這是爲什麽呢?
我的答案是:通過更有技巧地說謊——也就是說,創作看起來似乎是真實的小說——小說家才能夠將真相帶到新的地方,才能讓新的陽光撒到這片新的土地上。在多數情況下,幾乎不可能以其原始形式掌握真相,也不可能準確地闡述真相。這就是爲什麽我要将真相從眾多掩蓋之中拉出來,將它放到一個虛幻的地方,再用一種虛幻的形式將它替代。但是要想做到這一點,我們首先要清楚真實的謊言在我們心中,就在我們自己的心中。這是要想編造完美謊言的一個非常重要的資質。

但今天,我並不想說謊。我會盡可能地做到誠實。這也是一年當中我不說謊的為數不多的幾天之一,今天碰巧就是其中之一。

讓我來告訴你們真相。在日本有許多人建議我不要來這裡接受“耶路撒冷文學獎”。甚至有些人警告我,如果我要堅持來的話,他們就會掀起抵制閱讀我的小說的活動。當然,原因是加沙的戰爭正如火如荼。據聯合國報導,已經有一千多人在已封鎖的加沙城失去了他們的生命,許多都是手無寸鐵的平民——孩子和老人。

在接到這個獲獎通知後我不斷地問自己,是否要在這樣一個特殊時刻來耶路撒冷,接受這樣的文學獎是否是現在該做的事情,這樣做是否會讓人產生一種印象,說我支持衝突中的其中一方,說我支持選擇向世界展示其龐大軍事力量的國家的政策呢。當然我也不希望看到我的書遭到抵制。

但最後在經過深思熟慮後,我還是決定來到耶路撒冷。我之所以做出這樣的決定,原因之一就是有太多的人不想讓我來這裡。可能與許多其他小說家一樣,我總是要做人們反對我做的事情。如果人們對我說——並且特别是如果他們警告我——“不要去那裡”、“不要這樣做”,我就偏偏要去那裡,偏偏要這樣做。你可能會說,這就是小說家的性格。小說家是另類。如果他們沒有親眼所見,沒有親手觸摸,他們是不會真正相信任何事情的。

這就是我來到這裡的原因。我選擇來這裡,而不是逃避。我選擇親自來看一看,而不是回避,我選擇在這裏向大家說幾句,而不是沉默。

請允許我在這裡向你們傳遞一條信息,是一個非常私人的信息。在我寫小說時我總是在心裡牢記,但我從來都不會把它寫在紙上,貼在牆上,我是把它刻在了心靈的牆上,這條信息是這樣的:

“在一座高大堅實的牆和與之相撞的雞蛋之間,我永遠都站在雞蛋的一側”。

是的,無論牆是多麽的正確,雞蛋是多麽地錯誤,我都站在雞蛋的一側。其他人可能會判斷誰是誰非,也許時間或歷史會來判斷。但是,如果一個小說家無論因何種原因站在牆的一側來創造,那麽他的作品的價值何在呢?

這個比喻是什麽意思呢,在有些時候,非常簡單明了。轟炸機、坦克、火箭以及白磷彈就是那堵高牆,雞蛋是被這些武器毀滅、燒傷並擊斃的手無寸鐵的百姓。這就是這個比喻的其中一層含義。

但是,並不僅僅是這些。它還有更深一層的含義,我們來這樣考慮一下,我們中的每一個人或多或少都是一個雞蛋。我們中的每一個人都是存在於一個脆弱外殼中唯一的、不可替代的靈魂。我也一樣,對你們中的每一個人也一樣。並且,我們中的每一個人在某種程度上也面臨著一堵高大堅實的牆。這個牆有一個名字:那就是“體制”。這個體制本來是要保護我們的,但是有時候它會呈現出它自己的一面,然後就開始殘殺我們,並使我們去殘殺他人——冷酷、有效、系統地殘殺。

我寫小說之有一個原因,那就是要給予每一個靈魂以尊嚴,並且讓他們接受陽光的沐浴。情節的目的聽起來是一種警報,是對體制進行光芒的培訓,阻止它將我們的靈魂纏結在它的圈套中,防止踐踏我們的靈魂。我忠實地相信,小說家的職責就是通過創作故事——關於生死、關於愛情、讓人哭泣和顫慄以及讓人大笑不已的故事,讓人們意識到每一個靈魂的唯一性。這就是我不停創作的原因,日復一日,以十分嚴肅的態度創作小說。

我的父親是在去年去世的,享年九十歲。他是一名退休教師,是一名兼職佛教高僧。他從京都的研究生院畢業後,應徵入伍,被派到中國打仗。作為一個戰後出生的孩子,每天早晨在早飯前,我總是看到他的在我家的小佛教祭壇前非常虔誠地長時間地祈禱。有一次我就問父親為什麽要這樣做,他就告訴我說,他是在為戰爭中死去的人們祈禱。他說,他為所有死去的人祈禱,無論是同盟還是敵人。當我看着他跪在祭壇前的背影時,我似乎感受到了縈繞在他周圍的死亡的陰影。

我的父親去世了,帶著他的記憶,我永遠都不可能知道的記憶。但是環繞在他周圍的那些死亡卻留在了我自己的記憶中。這是我從他那裡學習到東西之一,也是最重要的東西之一。

今天我之希望向你們傳達一個信息。我們都是人類,是超越國籍、種族和宗教的個體的人,我們都是脆弱的雞蛋,要面臨被稱作“體制”的堅實的牆。從外表來看,我們根本就沒有贏的希望。這堵牆太高太堅實——並且太冷酷了。如果我們有一點戰勝它的希望,那就是來源於我們對我們自己以及他人靈魂唯一性和不可替代性的信念,來源於我們對将將魂聯合起來可獲得溫暖的信念。

花一點時間來考慮這些,我們每一個人都擁有有形的生動的靈魂,而體制沒有。我們不能讓體制來剝削我們。我們不能讓體制現出它自己的一面。不是體制創造了我們,而是我們建立了體制。

這就是這想要對你們說的。

非常感謝授予了我耶路撒冷文學獎。我也非常感謝世界各地有那麽多人看了我寫的書。我還要感謝以色列的讀者們。你們是我來到這裡的最主要原因。我希望我們能夠分享一些東西,一些有非常有意義的東西。我也非常高興今天有機會在這裡發言。

謝謝大家。

First home buyer tax credit extended

Posted by on 30 十二月 2009 | Tagged as: 浩氣

十月十九日寫了預測 First home buyer tax credit extend 多一年 ,棋差一著,想不到稅例也可以非一年期的。現在美國失業率未改善,但惡性通脹又山兩欲來,美國政府抱著石頭過河,新方案只extend 到明年四月,這的確比一次過extend一年明智。而將入息上限提高和加入六千五樓換樓,托市力度加強了,但減弱了資源再分配的意義,相信是政治交換後的結果。既然extend得一次,只要通脹受控,First home buyer tax credit再 extend 的機會很高。

迷人的笑容

Posted by on 29 十二月 2009 | Tagged as: 浩氣

《兒童睡前故事》五之十四

Posted by on 28 十二月 2009 | Tagged as: 浩氣

五、曹沖稱象

  講一個小孩子稱大象的故事。這小孩子名叫曹沖。   曹沖的父親曹操是個大官,外國人送給他一只大象,他很想知道這只大象有多重,就叫他手下的官員想辦法把大象稱一稱。   這可是一件難事。大象是陸地上最大的動物。怎麼稱法呢?那時候沒有那麼大的秤,人也沒有那麼大的力氣把大象抬起來。官員們都圍著大象發愁,誰也想不出秤象的辦法。   正在這個時候,跑出來一個小孩子,站到大人面前說︰“我有辦法,我有辦法!”官員們一看,原來是曹操的小兒子曹沖,嘴里不說,心里在想︰哼!大人都想不出辦法來,一個五、歲的小孩子,會有什麼辦法!   可是千萬別瞧不起小孩子,這小小的曹沖就是有辦法。他想的辦法,就連大人一時也想不出來。他父親就說︰“你有辦法快說出來讓大家听听。”   曹沖說︰“我稱給你們看,你們就明白了。”   他叫人牽了大象,跟著他到河邊去。他的父親,還有那些官員們都想看看他到怎麼個稱法,一起跟著來到河邊。河邊正好有只空著的大船,曹沖說︰“把大象牽到船上去。”   大想上了船,船就往下沉了一些。曹沖說︰“齊水面在船幫上劃一道記號。”記號劃好了以後,曹沖又叫人把大象牽上岸來。這時候大船空著,大船就往上俘起一些來。   大家看著,一會兒把大象牽上船,一會兒又把大象牽下船,心里說︰“這孩子在玩什麼把戲呀?”   接下來曹沖叫人挑了石塊,裝到大船上去,挑了一擔又一擔,大船又慢慢地往下沉了。   “行了,行了!”曹沖看見船幫上的記號齊了水面,就叫人把石塊又一擔一擔地挑下船來。這時候,大家明白了︰石頭裝上船和大象裝上船,那船下沉到同一記號上,可見,石頭和大象是同樣的重量;再把這些石塊稱一稱,把所有石塊的重量加起來,得到的總和不就是大象的重量了嗎?   大家都說,這辦法看起來簡單,可是要不是曹沖做給大家看,大人還真想不出來呢。曹沖真聰明!

《兒童睡前故事》四之十四

Posted by on 26 十二月 2009 | Tagged as: 浩氣

四、田忌賽馬
(註:記得神鵰俠侶第十二回英雄大宴的,對這個故事不會陌生吧。)

齊國的大將田忌,很喜歡賽馬,有一回,他和齊威王約定,要進行一場比賽。    他們商量好,把各自的馬分成上,中,下三等。比賽的時候,要上馬對上馬,中馬對中馬,下馬對下馬。由于齊威王每個等級的馬都比田忌的馬強得多,所以比 賽了幾次,田忌都失敗了。    田忌覺得很掃興,比賽還沒有結束,就垂頭喪氣地離開賽馬場,這時,田忌抬頭一看,人群中有個人,原來是自己的好朋友孫臏。孫臏招呼田忌過來,拍著他的 肩膀說︰    “我剛才看了賽馬,威王的馬比你的馬快不了多少呀。”    孫臏還沒有說完,田忌瞪了他一眼︰    “想不到你也來挖苦我!”    孫臏說︰“我不是挖苦你,我是說你再同他賽一次,我有辦法準能讓你贏了他。”    田忌疑惑地看著孫臏︰    “你是說另換一匹馬來?”    孫臏搖搖頭說︰    “連一匹馬也不需要更換。”    田忌毫無信心地說︰    “那還不是照樣得輸!”孫臏胸有成竹地說︰    “你就按照我的安排辦事吧。”    齊威王屢戰屢勝,正在得意洋洋地夸耀自己馬匹的時候,看見田忌陪著孫臏迎面走來,便站起來譏諷地說︰    “怎麼,莫非你還不服氣?”    田忌說︰“當然不服氣,咱們再賽一次!”說著,“嘩啦”一聲,把一大堆銀錢倒在桌子上,作為他下的賭錢。    齊威王一看,心里暗暗好笑,于是吩咐手下,把前幾次贏得的銀錢全部抬來,另外又加了一千兩黃金,也放在桌子上。齊威王輕蔑地說︰    “那就開始吧!”    一聲鑼響,比賽開始了。    孫臏先以下等馬對齊威王的上等馬,第一局輸了。齊威王站起來說︰    “想不到赫赫有名的孫臏先生,竟然想出這樣拙劣的對策。”    孫臏不去理他。接著進行第二場比賽。孫臏拿上等馬對齊威王的中等馬,獲勝了一局。齊威王有點心慌意亂了。    第三局比賽,孫臏拿中等馬對齊威王的下等馬,又戰勝了一局。這下,齊威王目瞪口呆了。    比賽的結果是三局兩勝,當然是田忌贏了齊威王。    還是同樣的馬匹,由于調換一下比賽的出場順序,就得到轉敗為勝的結果。

聖誕禮物-女兒的笑容

Posted by on 25 十二月 2009 | Tagged as: 浩氣

一個星期前天藍發燒入了急症室,抽血驗尿照肺,打針食消炎藥。六個星期就發燒,其實有一定危險,感恩是化驗報告結果一切正常(Negative),四日後也退燒了,但這幾日她辛苦,我和太太也辛苦。這個聖誕節,都如平日一樣,不是特別興奮。本來聖誕節會去外祖母的老人院和她一同慶祝,之後去外父外母家拆禮物,但昨晚為了天藍,沒有睡過,天亮才小睡個多小時,太太起床回娘家,我就繼續留守家中照顧天藍直至午後。今個聖誕節最大的禮物,是天藍的笑容,和她唱歌,她會以笑來回應,開心。


《兒童睡前故事》三之十四

Posted by on 16 十二月 2009 | Tagged as: 浩氣

三、狐假虎威

  在茂密的森林里,老虎是最凶猛的野獸,號稱森林之王。它每天都要捕吃其它動物。   一天,它踫到了一只狐狸,狐狸剛要溜走,已被它一把捉住。狡猾的狐狸看見自己無法逃脫,就耍了一個花招。它一本正經地斥責老虎說︰“你怎麼敢吃我?我是天帝任命來管理所有的野獸的,你要吃了我,就是違抗天帝的命。”老虎一听愣住了。狐狸馬上接著說︰“你要是不信,就跟在我後面走一趟,看看是不是所有的野獸見了我都趕快逃命。”老虎听狐狸說話的口氣很大,態度也很強硬,有幾分相信了,決定跟著狐狸去看看。   森林里大大小小的野獸們,看見狐狸大搖大擺,耀武揚威地走過來,後面跟著一只張牙舞爪的大老虎,都嚇得要命,四處奔逃。老虎看著,不知道野獸們怕得是自己,以為真是被狐狸的威風嚇跑的,徹底相信了狐狸的話。它怕狐狸怪罪自己,做出什麼對自己不利的舉動,于是也慌忙逃走了。   “狐假虎威”就是由這個故事而來,現在,人們用它來比喻倚仗別人的勢力欺壓人。

鄭秀文福音大碟【Faith 信】

Posted by on 14 十二月 2009 | Tagged as: 浩氣

一時之間我還未適應這麼入世的福音音樂(兩首主打都有raps),但我很喜歡鄭秀文,聲線唱功是天后級,無話可說,《罪與罰》/《Forgiveness》作曲的是陳奐仁,令我記得陳奐仁是陳奕迅的《愛是懷疑》。這隻碟幕後陣容專業而且新鮮,打破了福音音樂都是業餘產物的框框,當是普通流行曲去聽,也是值得推介的,當是福音音樂是超班之作。

比較引我注意的是王菀之包辦曲和詞的《結果》,她的歌(我真的受傷了/手望)總是有一種酒醉的苦痛味,孤伶伶的,帶很重的負能量。最易接受的是《有一種快樂》,正能量之選。最白最大路最似福音歌自然是《上帝早已預備 》了,但在商言商,兩隻主打《信者得愛》和《罪與罰》質素最高,要打入主流排行榜無問題。

題外話是《阿門》的「門」字,家中的聖經都是用「我們」的「們」,即「阿們」不是「阿門」,我覺得「們」字有同心合意的意思,就算是音譯,用「阿們」比用「阿門」好。感情豐富才能做藝人,所以藝人通常都是非常感性的,但感性得滯,就是精經質,精經質得滯,就是神經病了。鄭秀文聽她的歌可以,但看她講說話,Well… 再看她畫的畫,有點為這位姊妹擔心。

Sammi 親身介紹福音大碟《信》

【Faith 信】專輯
1. 信者得愛

2. 罪與罰

3. 上帝早已預備
http://www.youtube.com/watch?v=hbQI_g9t1aU
4. 不要驚動愛情Hot
http://www.youtube.com/watch?v=hSDv_u40y8s
5. 結果

6. 你愛我

7. 有一種快樂

8. Forgiveness (英)

9. 阿門 (國)

10. 你愛我 (國)
http://www.youtube.com/watch?v=TCQO2z-mZQk

《兒童睡前故事》 二之十四

Posted by on 13 十二月 2009 | Tagged as: 浩氣

二、小馬過河

  小馬和他的媽媽住在綠草茵茵的十分美麗的小河邊。除了媽媽過河給河對岸的村子送糧食的時候,他總是跟隨在媽媽的身邊寸步不離。   他過的很快樂,時光飛快地過去了。   有一天,媽媽把小馬叫到身邊說︰“小馬,你已經長大了,可以幫媽媽做事了。今天你把這袋糧食送到河對岸的村子里去吧。”   小馬非常高興地答應了。他馱著糧食飛快地來到了小河邊。可是河上沒有橋,只能自己淌過去。可又不知道河水有多深呢?猶豫中的小馬一抬頭,看見了正在不遠處吃草的牛伯伯。小馬趕緊跑過去問到︰“牛伯伯,您知道那河里的水深不深呀?”   牛伯伯挺起他那高大的身體笑著說︰“不深,不深。才到我的小腿。”小馬高興地跑回河邊準備淌過河去。他剛一邁腿,忽然聽見一個聲音說︰“小馬,小馬別下去,這河可深啦。”小馬低頭一看,原來是小松鼠。小松鼠翹著她的漂亮的尾巴,睜者圓圓的眼楮,很認真地說︰   “前兩天我的一個伙伴不小心掉進了河里,河水就把他捲走了。”小馬一聽沒主意了。牛伯伯說河水淺,小松鼠說河水深,這可怎麼辦呀?只好回去問媽媽。   馬媽媽老遠地就看見小馬低著頭馱著糧食又回來了。心想他一定是遇到困難了,就迎過去問小馬。小馬哭著把牛伯伯和小松鼠的話告訴了媽媽。媽媽安慰小馬說 ︰“沒關系,咱們一起去看看吧。”   小馬和媽媽又一次來到河邊,媽媽這回讓小馬自己去試探一下河水有多深。小馬小心地試探著,一步一步地淌過了河。噢,他明白了,河水既沒有牛伯伯說的那麼淺,也沒有小松鼠說的那麼深。只有自己親自試過才知道。   小馬深情地向媽媽望了一眼,心里說︰“謝謝你了,好媽媽。”   然後他轉頭向村子跑去。他今天特別高興,你知道是為什麼嗎?

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