大學(xué)英語(yǔ)4課文翻譯答案
大學(xué)英語(yǔ)教學(xué)的目的是培養(yǎng)學(xué)生具有較強(qiáng)的閱讀能力，一定的聽(tīng)的能力，以及初步的寫、說(shuō)和翻譯的能力。以下是小編整理的大學(xué)英語(yǔ)4課文翻譯答案，歡迎閱讀。
大學(xué)英語(yǔ)4課文翻譯答案 1
Enjoy humor -- what's funny?
Listen to an interesting story to laugh, very happy, ancient and modern times. The phenomenon may be as old as the language itself. So what makes a story or joke funny?
I was the first person to recognize humor and I liked it, so I tried to talk and talk about humor with my students. These student cultures vary widely, from Latin America to China. I've also seriously thought about some funny stories. It's all about your liking.
Why do some students in the class laugh their head off when I finish a joke, and other students look like I just read the weather forecast? Obviously, some people are more sensitive to humor than others. Also, we find that some people are very good at telling jokes, and some people have a lot of trouble to say something interesting. We've all heard the words, "I like jokes, but I can't tell them, and I can't remember them." Some people have a better sense of humor than others, just like some people have the same abilities as music and math. A truly funny person has a joke in any situation and tells a joke, which leads to a string of jokes from his memory. A person who lacks a sense of humor can't be the most popular person in a group. A person who has a real sense of humor is not only loved, but also tends to be the focus of attention at any party. That makes sense.
Even some animals have a sense of humor. My mother-in-law used to come to our house and stay for a long time. Usually she doesn't like dogs, but she loves britz-we have a labrador retriever. And their love is mutual. Bliss, well at a young age are often make fun of her grandmother, her favorite when grandma sat in the living room that comfortable chair, the litz, deliberately put her slipper diao to the living room, bedroom and grandma just jumping's reach, have been made to the grandmother could not help but stand up and get the slipper. Grandmother come from the chair, bliss, quickly jumped onto the chair, and from its shiny brown eyes across a LABS to the smile, is to say: "ah, you're led on by me."
A typical joke or humorous story consists of three distinct parts. The first part is the foreshadowing (background), followed by the trunk (the storyline), followed by the quip (a surprising or surprising ending). If the punch line contains some humor, the joke will be funny. Usually jokes include these three parts, and each part must be made clear. If a person who tells a story or a joke USES gestures and language that are familiar to the audience, it helps to enhance the effect.
We can analyze the form of humor and find out what makes a funny story or joke funny. For example, the most common sense of humor is the following, including humor from the most obvious to subtle and subtle.
Farce is the most obvious humor. It is simple, straightforward, and often delights in making fun of others. It used to be, and still is, an idiomatic technique for funny actors and clowns. It is loved by people of different ages and cultures. Almost every funny comedian in English in this century has said the following joke in one way or another. A man asked another man, "who was the lady I saw with you last night?" The man replied, "that's not a lady. It's my wife." The humor of this joke is that the second man says that his wife is not a lady, which means she is not an elegant woman. The joke didn't get any more funny because it was often said. Because this is a classic joke, the audience knows what to say, and because they are familiar with the joke, they cherish it.
Cross talk in China is a special farce. Two Chinese comedians in cross talk humorously talk about issues such as bureaucracy, family issues or other personal issues. Crosstalk can be heard everywhere, whether on a small village stage, or in Beijing's largest theater, or on radio or television. It is clearly a traditional form of humor for Chinese people.
"Wisecracking" is not as simple as a farce, it is made to laugh because of the misuse or misunderstanding of language. One example I particularly liked was the story of three older gentlemen travelling by train in England. When the train stopped slowly, the first gentleman asked, "is this Wembley?" "No," said the second gentleman, "Thursday." "Me too," said the third. "let's get off and have a beer." We know that older people tend to be behind the ears, so will the Wembley (at Wembley) listen to Wednesday (Wednesday), the Thursday (Thursday) to become thirsty (thirsty), thus laid a good groundwork for the punch line of a third old man.
The famous Chinese cartoonist and humorist ding cong was a wisecracking master. In one of his humorous cartoons, a teacher said, "why do you copy other people's homework?" The young student replied, "I didn't copy it. I changed my homework name to my own." In another classic cartoon by ding cong, an angry father asks, "tell me, what is one plus two?" The son said, "I don't know." The impatient father went on, "for example, you, your mother and I, how many of us add up, fool?" The son replies proudly, "it's three idiots." These stories, whether comic or joke, are the comedians of the farce or the comedians of the comedians, who are loved by the people everywhere. People love these funny stories because they are close to real life, and the unexpected quips are very interesting.
Puns are more subtle wisecracks. The trick it USES is to use the different meaning of the word or the same word. Some critics think pun is the lowest level of humor, but I disagree. Puns require more subtle and clever language skills than other forms of humor; However, simple puns and even very small children can be used. For example, puzzles or brain teasers often use puns to prepare the story, and more often in the quizzes. Puns are my earliest sense of humor. I remember hearing this riddle when I was about five years old. One man asked, "what is black, white and red?" The other man, usually not able to guess, asked, "I don't know. What is it?" "The man in the riddle replied," it's the newspaper." If you know that the words "red" and "read" in English sound the same but the meaning is completely different, the answer is obvious.
DOUBLE ENTENDRES is a special form of pun, where words or phrases have a DOUBLE meaning. Two meanings are often very different, one is appropriate, the other is often vulgar - but not always. I like the story about a middle school teacher and the principal worried about seeing students kissing on the playground. The story is not overdone. The teacher said to the students. "I and the principal have decided to stop kissing on the playground." Hearing the laughter, she realized that she had not made it clear, and added: "I mean no more kissing under our noses." The explanation, of course, did not correct her first sentence, but it made the double meaning of the joke more amusing.
Some professional humorists say that humor nowadays is mostly lacking in intelligence and subtlety. They don't like to use too much of the language of porn or vulgarity in their humor, and feel that most humorists lack creativity. It's true that some humor is shocking now, but I don't think it's the fault of humor. Humor itself is active and healthy, and it will continue to survive only because there are interesting things happening every day. Some people with a sense of humor will see these interesting things and weave them into witty, entertaining jokes and stories.
【翻譯答案】
享受幽默—什么東西令人開(kāi)懷？
聽(tīng)了一個(gè)有趣的故事會(huì)發(fā)笑、很開(kāi)心，古今中外都一樣。這一現(xiàn)象或許同語(yǔ)言本身一樣悠久。那么，到底是什么東西會(huì)使一個(gè)故事或笑話讓人感到滑稽可笑的呢？
我是第一次辨識(shí)出幽默便喜歡上它的人，因此我曾試圖跟學(xué)生議論和探討幽默。這些學(xué)生文化差異很大，有來(lái)自拉丁美洲的，也有來(lái)自中國(guó)的。我還認(rèn)真地思考過(guò)一些滑稽有趣的故事。這么做完全是出于自己的喜好。
為什么聽(tīng)我講完一個(gè)笑話后，班上有些學(xué)生會(huì)笑得前仰后合，而其他學(xué)生看上去就像剛聽(tīng)我讀了天氣預(yù)報(bào)一樣呢？顯然，有些人對(duì)幽默比別人更敏感。而且，我們也發(fā)現(xiàn)有的人很善于講笑話，而有的人要想說(shuō)一點(diǎn)有趣的事卻要費(fèi)好大的勁。我們都聽(tīng)人說(shuō)過(guò)這樣的話：“我喜歡笑話，但我講不好，也總是記不住。”有些人比別人更有幽默感，就像有些人更具有音樂(lè)、數(shù)學(xué)之類的才能一樣。一個(gè)真正風(fēng)趣的人在任何場(chǎng)合都有笑話可講，而且講了一個(gè)笑話，就會(huì)從他記憶里引出一連串的笑話。一個(gè)缺乏幽默感的人不可能成為一群人中最受歡迎的人。一個(gè)真正有幽默感的人不僅受人喜愛(ài)，而且在任何聚會(huì)上也往往是人們注意的焦點(diǎn)。這么說(shuō)是有道理的。
甚至有些動(dòng)物也具有幽默感。我岳母從前經(jīng)常來(lái)我們家，并能住上很長(zhǎng)一段時(shí)間。通常她不喜歡狗，但卻很喜歡布利茨恩—我們養(yǎng)過(guò)的一條拉布拉多母獵犬。而且，她們的這種喜歡是相互的。布利茨恩在很小的時(shí)候就常常戲弄外祖母，當(dāng)外祖母坐在起居室里她最喜歡的那張舒適的椅子上時(shí)，布利茨恩就故意把她臥室里的一只拖鞋叼到起居室，并在外祖母剛好夠不到的地方蹦來(lái)跳去，一直逗到外祖母忍不住站起來(lái)去拿那只拖鞋。外祖母從椅子上一起來(lái)，布利茨恩就迅速跳上那椅子，從它那閃亮的棕色眼睛里掠過(guò)一絲拉布拉多式的微笑，無(wú)疑是在說(shuō)：“啊哈，你又上了我的當(dāng)�！�
典型的笑話或幽默故事由明顯的三部分構(gòu)成。第一部分是鋪墊（即背景），接下來(lái)是主干部分（即故事情節(jié)），隨后便是妙語(yǔ)（即一個(gè)出人意料或令人驚訝的結(jié)尾）。如果這個(gè)妙語(yǔ)含有一定的幽默成分，這個(gè)笑話便會(huì)很有趣。通常笑話都包含這三部分，而且每部分都必須交代清楚。如果講故事或說(shuō)笑話的人使用聽(tīng)眾都熟悉的手勢(shì)和語(yǔ)言，則有助于增強(qiáng)效果。
我們可以對(duì)幽默這種娛樂(lè)形式，進(jìn)行分析，從而發(fā)現(xiàn)究竟是什么使一個(gè)有趣的故事或笑話令人發(fā)笑。舉例來(lái)說(shuō)，最常見(jiàn)的幽默有以下幾種，包括了從最顯而易見(jiàn)的幽默到比較微妙含蓄的幽默。
“滑稽劇”是最明顯的幽默。它語(yǔ)言簡(jiǎn)單、直截了當(dāng)，常常以取笑他人為樂(lè)。說(shuō)笑打鬧這種形式過(guò)去是、現(xiàn)在仍然是滑稽說(shuō)笑演員和小丑的慣用技巧。它為不同年齡、不同文化背景的人們所喜愛(ài)。幾乎本世紀(jì)的每個(gè)講英語(yǔ)的滑稽說(shuō)笑演員都曾以這樣或那樣的方式說(shuō)過(guò)下面這則笑話。一位男士問(wèn)另一位男士：“昨晚我看到的那位和你在一起的`貴婦是誰(shuí)？”那位男士回答道：“那可不是什么貴婦，那是我老婆�！边@個(gè)笑話的幽默之處在于第二位男士說(shuō)他的妻子不是一位貴婦，也就是說(shuō)她不是一個(gè)高雅的女人。這個(gè)笑話并沒(méi)有因?yàn)榻?jīng)常講而變得不再那么好笑。由于這是一個(gè)經(jīng)典笑話，觀眾都知道要說(shuō)什么，而且因?yàn)榇蠹覍?duì)這個(gè)笑話很熟悉而更加珍愛(ài)它。
中國(guó)的相聲是一種特殊的滑稽劇。相聲中兩名中國(guó)喜劇演員幽默地談?wù)撝T如官僚主義者、家庭問(wèn)題或其他一些有關(guān)個(gè)人的話題。相聲隨處都能聽(tīng)到，無(wú)論是在鄉(xiāng)村的小舞臺(tái)上，還是在北京最大的劇院里，抑或在廣播、電視上。它顯然是中國(guó)人家喻戶曉的一種傳統(tǒng)的幽默形式。
“俏皮話”不像滑稽劇那樣淺顯，它是因語(yǔ)言的誤用或誤解而引人發(fā)笑。我特別喜歡的一個(gè)例子是三位年長(zhǎng)的紳士在英國(guó)乘火車旅行的故事。當(dāng)火車慢慢停下來(lái)時(shí)，第一位紳士問(wèn)道：“這是Wembley (溫布利)嗎？”“不，”第二位紳士說(shuō)：“是Thursday (星期四)�！薄拔乙彩�，”第三位說(shuō)道，“讓我們下車喝杯啤酒吧�！蔽覀冎郎狭四昙o(jì)的人往往耳背，因此會(huì)把Wembley（溫布利）聽(tīng)成了Wednesday（星期三），把Thursday（星期四）聽(tīng)成了thirsty（渴了），這樣一來(lái)就為第三位老人的妙語(yǔ)做好了鋪墊。
著名的中國(guó)漫畫(huà)家和幽默家丁聰便是一位俏皮話大師。在他的一幅幽默漫畫(huà)中，一位老師說(shuō)：“你為什么一字不改地抄別人的作業(yè)？”那位年輕的學(xué)生回答道：“我沒(méi)有一字不改地抄。我把作業(yè)上的名字改成自己的了�！痹诙÷�?shù)牧硪环?jīng)典漫畫(huà)里，一位生氣的父親問(wèn)道：“告訴我，1加2等于幾？”兒子說(shuō)：“我不知道�！边@位不耐煩的父親接著說(shuō)道：“比方說(shuō)，你、你媽媽和我，我們加起來(lái)一共是幾個(gè)，傻瓜？”兒子得意地回答道：“是三個(gè)傻瓜�！边@些故事無(wú)論是漫畫(huà)還是笑話，是由演滑稽劇的喜劇演員說(shuō)還是由搭檔的相聲演員講，都為各地人們所喜愛(ài)。人們喜愛(ài)這些有趣的故事，因?yàn)樗鼈冑N近現(xiàn)實(shí)生活，而且里面那些出人意料的妙語(yǔ)十分有趣。
雙關(guān)語(yǔ)是一種更微妙的俏皮話。它使用的技巧是利用發(fā)音相似的詞或同一個(gè)詞的不同意思。有些批評(píng)家認(rèn)為雙關(guān)語(yǔ)是最低級(jí)的幽默，但我不同意這種觀點(diǎn)。雙關(guān)語(yǔ)與其他形式的幽默相比需要更細(xì)微、更巧妙的語(yǔ)言技巧；然而，簡(jiǎn)單的雙關(guān)語(yǔ)甚至很小的孩子也能利用。例如，謎語(yǔ)或腦筋急轉(zhuǎn)彎問(wèn)題常使用雙關(guān)語(yǔ)做鋪墊、制造故事情節(jié)，而且更多地是用在妙語(yǔ)部分。雙關(guān)語(yǔ)是我最早懂得的幽默。記得大約在五歲時(shí)我聽(tīng)到了下面這個(gè)謎語(yǔ)。一個(gè)人問(wèn)：“什么東西整個(gè)兒是黑的、白的和紅的？”另外一個(gè)人通常猜不出來(lái)，于是問(wèn)道：“我不猜了。是什么呀？”出謎語(yǔ)的人回答：“是報(bào)紙�！比绻阒涝谟⒄Z(yǔ)中“red（紅色）”和“read（讀）”的讀音一樣但意思完全不同，答案就很明顯了。
DOUBLE ENTENDRES （法語(yǔ)中的“一語(yǔ)雙關(guān)”）是雙關(guān)語(yǔ)的特殊形式, 其中的詞或短語(yǔ)有雙重意思。兩個(gè)意思往往很不相同，一個(gè)比較恰當(dāng)，另一個(gè)往往比較粗俗—但并不總是這樣。我喜歡那個(gè)關(guān)于一位中學(xué)教師和校長(zhǎng)因看見(jiàn)學(xué)生在學(xué)校操場(chǎng)上接吻而感到擔(dān)心的故事。故事并不過(guò)火。那位教師對(duì)學(xué)生們說(shuō)；“我和校長(zhǎng)已經(jīng)決定停止在學(xué)校操場(chǎng)上接吻�！甭�(tīng)到笑聲，她意識(shí)到她沒(méi)有把意思表達(dá)清楚，于是補(bǔ)充說(shuō)：“我的意思是不能再在我們的鼻子下面發(fā)生接吻這樣的事了。”當(dāng)然，這個(gè)解釋并沒(méi)有糾正她的第一句話，反而使這個(gè)笑話的雙重含義變得更加好笑。
一些專業(yè)的幽默家認(rèn)為如今的幽默大多缺乏智慧，不夠巧妙。他們不喜歡在幽默中過(guò)多使用有色情意味或粗俗的語(yǔ)言，而且覺(jué)得大多數(shù)幽默家缺乏創(chuàng)造性。的確，現(xiàn)在有些幽默令人震驚，但我認(rèn)為這不是幽默的過(guò)錯(cuò)。幽默本身是活潑健康的，它還會(huì)繼續(xù)生存下去，只因?yàn)槊刻於加杏腥さ氖虑榘l(fā)生。一些有幽默感的人會(huì)看到聽(tīng)到這些有趣的事情，并把它們編成妙趣橫生、令人開(kāi)心的笑話和故事。
大學(xué)英語(yǔ)4課文翻譯答案 2
Annie Dillard tells of her visit to the Napo River in the heart of the Ecuadorian jungle, one of nature's most unspoiled places. She describes the beauty of the forest and her admiration for the people who live there.
In the Jungle
Annie Dillard
Like any out-of-the-way place, the Napo River in the Ecuadorian jungle seems real enough when you are there, even central. Out of the way of what? I was sitting on a stump at the edge of a bankside palm-thatch village, in the middle of the night, on the headwaters of the Amazon. Out of the way of human life, tenderness, or the glance of heaven?
A nightjar in deep-leaved shadow called three long notes, and hushed. The men with me talked softly: three North Americans, four Ecuadorians who were showing us the jungle. We were holding cool drinks and idly watching a hand-sized tarantula seize moths that came to the lone bulb on the generator shed beside us.
It was February, the middle of summer. Green fireflies spattered lights across the air and illumined for seconds, now here, now there, the pale trunks of enormous, solitary trees. Beneath us the brown Napo River was rising, in all silence; it coiled up the sandy bank and tangled its foam in vines that trailed from the forest and roots that looped the shore.
Each breath of night smelled sweet. Each star in Orion seemed to tremble and stir with my breath. All at once, in the thatch house across the clearing behind us came the sound of a recorder, playing a tune that twined over the village clearing, muted our talk on the bankside, and wandered over the river, dissolving downstream.
This will do, I thought. This will do, for a weekend, or a season, or a home.
Later that night I loosed my hair from its braids and combed it smooth -- not for myself, but so the village girls could play with it in the morning.
We had disembarked at the village that afternoon, and I had slumped on some shaded steps, wishing I knew some Spanish or some Quechua so I could speak with the ring of little girls who were alternately staring at me and smiling at their toes. I spoke anyway, and fooled with my hair, which they were obviously dying to get their hands on, and laughed, and soon they were all braiding my hair, all five of them, all fifty fingers, all my hair, even my bangs. And then they took it apart and did it again, laughing, and teaching me Spanish nouns, and meeting my eyes and each other's with open delight, while their small brothers in blue jeans climbed down from the trees and began kicking a volleyball around with one of the North American men.
Now, as I combed my hair in the little tent, another of the men, a free-lance writer from Manhattan, was talking quietly. He was telling us the tale of his life, describing his work in Hollywood, his apartment in Manhattan, his house in Paris.... "It makes me wonder," he said, "what I'm doing in a tent under a tree in the village of Pompeya, on the Napo River, in the jungle of Ecuador." After a pause he added, "It makes me wonder why I'm going back."
The point of going somewhere like the Napo River in Ecuador is not to see the most spectacular anything. It is simply to see what is there. We are here on the planet only once, and might as well get a feel for the place. We might as well get a feel for the fringes and hollows in which life is lived, for the Amazon basin, which covers half a continent, and for the life that -- there, like anywhere else -- is always and necessarily lived in detail: on the tributaries, in the riverside villages, sucking this particular white-fleshed guava in this particular pattern of shade.
What is there is interesting. The Napo River itself is wide and brown, opaque, and smeared with floating foam and logs and branches from the jungle. Parrots in flocks dart in and out of the light. Under the water in the river, unseen, are anacondas -- which are reputed to take a few village toddlers every year -- and water boas, crocodiles, and sweet-meated fish.
Low water bares gray strips of sandbar on which the natives build tiny palm-thatch shelters for overnight fishing trips. You see these extraordinarily clean people (who bathe twice a day in the river, and whose straight black hair is always freshly washed) paddling down the river in dugout canoes, hugging the banks.
Some of the Indians of this region, earlier in the century, used to sleep naked in hammocks. The nights are cold. Gordon MacCreach, an American explorer in these Amazon tributaries, reported that he was startled to hear the Indians get up at three in the morning. He was even more startled, night after night, to hear them walk down to the river slowly, half asleep, and bathe in the water. Only later did he learn what they were doing: they were getting warm. The cold woke them; they warmed their skins in the river, which was always ninety degrees; then they returned to their hammocks and slept through the rest of the night.
When you are inside the jungle, away from the river, the trees vault out of sight. Butterflies, bright blue, striped, or clear-winged, thread the jungle paths at eye level. And at your feet is a swath of ants bearing triangular bits of green leaf. The ants with their leaves look like a wide fleet of sailing dinghies -- but they don't quit. In either direction they wobble over the jungle floor as far as the eye can see.
Long lakes shine in the jungle. We traveled one of these in dugout canoes, canoes paddled with machete-hewn oars, or poled in the shallows with bamboo. Our part-Indian guide had cleared the path to the lake the day before; when we walked the path we saw where he had impaled the lopped head of a boa, open-mouthed, on a pointed stick by the canoes, for decoration.
This lake was wonderful. Herons plodded the shores, kingfishers and cuckoos clattered from sunlight to shade, great turkeylike birds fussed in dead branches, and hawks hung overhead. There was all the time in the world. A turtle slid into the water. The boy in the bow of my canoe slapped stones at birds with a simple sling, a rubber thong and leather pad. He aimed brilliantly at moving targets, always, and always missed; the birds were out of range. He stuffed his sling back in his shirt. I looked around.
The lake and river waters are as opaque as rainforest leaves; they are veils, blinds, painted screens. You see things only by their effects. I saw the shoreline water heave above a thrashing paichi, an enormous black fish of these waters; one had been caught the previous week weighing 430 pounds. Piranha fish live in the lakes, and electric eels. I dangled my fingers in the water, figuring it would be worth it.
We would eat chicken that night in the village, together with rice, onions and heaps of fruit. The sun would ring down, pulling darkness after it like a curtain. Twilight is short, and the unseen birds of twilight wistful, catching the heart. The two nuns in their dazzling white habits -- the beautiful-boned young nun and the warm-faced old -- would glide to the open cane-and-thatch schoolroom in darkness, and start the children singing. The children would sing in piping Spanish, high-pitched and pure; they would sing "Nearer My God to Thee" in Quechua, very fast. As the children became excited by their own singing, they left their log benches and swarmed around the nuns, hopping, smiling at us, everyone smiling, the nuns' faces bursting in their cowls, and the clear-voiced children still singing, and the palm-leafed roofing stirred.
The Napo River: it is not out of the way. It is in the way, catching sunlight the way a cup catches poured water; it is a bowl of sweet air, a basin of greenness, and of grace, and, it would seem, of peace.
創(chuàng)新大學(xué)英語(yǔ)4課文翻譯
安妮·迪拉德講述了自己游覽厄瓜多爾叢林深處的納波河的經(jīng)歷。那是大自然遭受人為破壞最少的地區(qū)之一。她描述了森林之美以及對(duì)生活在那里的土著人的歆慕之情。
在叢林中
安妮·迪拉德
如同所有僻遠(yuǎn)之地，當(dāng)你身臨其境時(shí)，厄瓜多爾叢林深處的納波河就顯得那么真實(shí)，甚至有中心要地的感覺(jué)。那么僻遠(yuǎn)之地遠(yuǎn)離什么呢?夜半時(shí)分，在亞馬遜河的源頭，我坐在一個(gè)樹(shù)墩上，身后是傍水的棕櫚葉作屋頂?shù)男〈迓�。遠(yuǎn)離人類活動(dòng)，遠(yuǎn)離脈脈溫情�；蛘哒f(shuō)遠(yuǎn)離天堂的掃視?
一只歐夜鷹在密密的樹(shù)葉間發(fā)出三聲長(zhǎng)啼，旋即靜默無(wú)聲。和我一起的那些男人輕聲交談著：3個(gè)北美人，4個(gè)為我們?cè)趨擦种袔返亩蚬隙酄柸�。我們手里拿著清涼的飲料，悠閑地看著一只有手那么大小的狼蛛捕捉紛紛撲向我們身旁發(fā)電機(jī)棚屋上一個(gè)燈泡的飛蟲(chóng)。
時(shí)值2月，正當(dāng)仲夏。綠瑩瑩的螢火蟲(chóng)在空中閃出光亮，一會(huì)兒這里照亮一下，一會(huì)兒那里照亮一下幽木巨樹(shù)的暗淡的樹(shù)干。在我們下方，褐黃色的納波河水正在漲潮。萬(wàn)籟俱寂：惟見(jiàn)河水沿著沙岸蜿蜒流過(guò)，水沫裹挾在蔓生在森林里的藤蔓間以及盤繞岸邊的樹(shù)根上。
夜晚吸入的每口氣都沁人心脾。獵戶星座里的每一顆星星似乎都因了我的呼吸而顫動(dòng)。突然，我們身后空地旁的茅屋里，傳出了錄音機(jī)的聲音，一首樂(lè)曲在村子空地之上繚繞，減弱了我們?cè)诤优险勗挼穆曇�，然后又傳至河面，隨流飄去。
人生遇此情景足矣，我暗想。在此度過(guò)周末足以，在此小住數(shù)月足以，在此安家足以。
夜半時(shí)分，我散開(kāi)辮子，把頭發(fā)梳理得平平整整--不是為我自己，而是為了村里那些姑娘早上可以玩我的頭發(fā)。
我們是那天下午在這個(gè)小村上岸的，我垂著頭坐在樹(shù)陰下的踏級(jí)上，真希望自己會(huì)說(shuō)幾句西班牙語(yǔ)或蓋丘亞語(yǔ)，好跟圍成一圈的小女孩說(shuō)說(shuō)話，她們一會(huì)兒看看我，一會(huì)兒又低頭看著自己的腳趾竊笑。我還是開(kāi)口了，笑著撫弄自己的頭發(fā)，她們顯然也都非常想碰碰我的頭發(fā)。沒(méi)過(guò)一會(huì)兒，她們就給我編辮子了，她們5個(gè)人，50個(gè)手指，我是一頭辮子，連留海也編成了辮子。她們拆了編，編了拆，一邊笑一邊教我西班牙語(yǔ)單詞，望望我，又相互對(duì)望，個(gè)個(gè)喜形于色，她們那些穿著牛仔服的小弟弟們則紛紛下得樹(shù)來(lái)，跟一個(gè)北美人踢排球玩耍。
此刻，我在低矮的帳篷里梳理著頭發(fā)，另一個(gè)北美人，一位來(lái)自曼哈頓的自由作家，正在輕聲說(shuō)話。他在向我們講述他人生的故事，講述他在好萊塢的工作、在曼哈頓的公寓、在巴黎的家…… “我不由納悶，”他說(shuō)，“在厄瓜多爾的叢林里，在納波河上，在蓬帕雅小村，在樹(shù)下的帳篷里，自己在干什么�！彼D了頓，接著說(shuō)：“我不由尋思，自己為什么要回去�！�
去厄瓜多爾納波河這種地方不是為了觀賞什么世界奇觀，而只是去看一看那里有些什么。人生在世，惟有一次，我們不妨去感受一下那個(gè)地方。我們不妨去感受一下有生命生活其間的遠(yuǎn)方水鄉(xiāng)山谷，去感受覆蓋了半個(gè)大陸的亞馬遜河流域，去感受那樣一種生活――在那里，一如在別的地方――那種必定總是瑣碎的生活：在各條支流上，在臨水的村落里，在有著獨(dú)特形狀的陰涼處吮吸著有白色漿果的獨(dú)特的番石榴。
那里的一切都趣味盎然。納波河河面寬闊，河水混濁，呈褐黃色，浮沫以及叢林里來(lái)的木段和樹(shù)枝翻浮其上。成群的鸚鵡忽而飛進(jìn)樹(shù)蔭里，忽而飛入陽(yáng)光里。水下潛伏著南美蟒蛇――據(jù)說(shuō)每年都要吞吃幾名村童――還有水蟒、鱷魚(yú)，以及肉質(zhì)鮮美的魚(yú)類。
水淺的地方露出灰茫茫的狹長(zhǎng)沙洲，土著人在沙洲上為過(guò)夜的漁夫搭建了小小的棕櫚茅舍。你能見(jiàn)到這些清潔得出奇的人(他們?cè)诤永镆惶煦逶纱�，滿頭直挺的黑發(fā)更是剛剛洗過(guò))在獨(dú)木舟里緊貼著河岸蕩槳。
在本世紀(jì)早期，這一地區(qū)的一些印第安人常常赤身睡在吊床里。夜晚頗涼�？睖y(cè)亞馬遜河支流的美國(guó)探險(xiǎn)家戈登·麥克里奇曾記述說(shuō)，他凌晨點(diǎn)就聽(tīng)見(jiàn)印第安人起身，深感愕然。更令他驚奇的是，夜復(fù)一夜，他都聽(tīng)見(jiàn)他們半睡半醒地緩步走向河邊，趟到河里洗起澡來(lái)。后來(lái)他才弄明白他們是在干什么：他們?cè)谌∨�。涼意把他們凍醒，他們便到河里暖暖身子，因�(yàn)楹铀３?0(華氏)度不變;隨后他們?cè)倩氐降醮采�，睡到天亮�?/p>
當(dāng)你離開(kāi)大河，深入?yún)擦郑瑵M眼樹(shù)木高聳入云。一眼望去，成群的蝴蝶穿過(guò)叢林小徑，有寶藍(lán)的，有條紋的，有純色翅膀的。在腳下，則有一長(zhǎng)列螞蟻背負(fù)著三角形的綠葉碎片。負(fù)葉爬行的螞蟻就像一支規(guī)模龐大、揚(yáng)帆行駛的船隊(duì)――只是它們不會(huì)停歇。無(wú)論什么方向，都能看到它們?cè)趨擦值牡孛嫔蠐u搖擺擺地爬行。
叢林中狹長(zhǎng)的湖泊上波光閃閃。我們蕩舟其上，劃著用大砍刀砍削而成的木槳，在淺水處則以竹當(dāng)篙。有著一半印第安血統(tǒng)的向?qū)耙惶煲呀?jīng)辟出了通往湖泊的小路;我們?cè)谛÷飞闲凶邥r(shí)，看見(jiàn)他砍下作為裝飾的蟒蛇頭，張開(kāi)大口，釘在獨(dú)木舟邊尖頭枝條上。
湖泊奇妙無(wú)比。蒼鷺在岸邊緩緩地邁著步子，翠鳥(niǎo)和杜鵑歡叫著從陽(yáng)光里飛入樹(shù)蔭，火雞模樣的大鳥(niǎo)在枯枝間忙碌，鷹在頭上盤旋。我們毋庸為時(shí)間擔(dān)憂，可以從容地欣賞周圍的一切。一只烏龜滑入水中。我乘坐的獨(dú)木舟船頭坐著個(gè)男孩，他用簡(jiǎn)陋的彈弓――橡皮彈架和皮索――發(fā)射石彈擊打飛鳥(niǎo)。他擺出漂亮的架勢(shì)瞄準(zhǔn)飛鳥(niǎo)，卻一次又一次地偏離目標(biāo);鳥(niǎo)總是飛出他的射程。他把彈弓塞回進(jìn)襯衣內(nèi)。我移開(kāi)目光。
湖水與河水都如熱帶雨林中的樹(shù)葉那樣乳濁;那水是面紗，是窗簾，是畫(huà)屏。你只能從表象看事物。我看到近岸的河水在起伏，上面翻騰著一條巨滑舌魚(yú)，那是這一帶水域出產(chǎn)的一種奇大的黑魚(yú);上一個(gè)星期捕獲一條，重達(dá)430磅。湖里有水虎魚(yú)，還有電鰻。我用手指在水里劃著，心想即使被魚(yú)咬一口也值得。
那天夜晚在小村里，我們將吃雞肉，還有米飯、洋蔥和一大堆水果。夕陽(yáng)會(huì)西下，像落幕似地把夜暮降下。黃昏短暫，暮色中，看不見(jiàn)的鳥(niǎo)兒在傷感似地啼鳴，聲聲動(dòng)人。兩位修女，身穿耀眼的白色道服――年輕的修女身材姣好，年長(zhǎng)的那位慈眉善目――會(huì)在夜色中悄然來(lái)到開(kāi)著門的用藤條茅草搭建的教室里，讓孩子們唱歌。孩子們會(huì)用西班牙語(yǔ)放聲歌唱，歌聲又高又純;他們會(huì)用蓋丘亞語(yǔ)唱“上帝離你更近”，唱得非�？�。孩子們唱著唱著興奮起來(lái)，紛紛從木凳上站起，簇?fù)碓趦晌恍夼砼�，又是跳，又是沖著我們笑。人人都在歡笑，穿戴頭巾的修女滿臉歡笑，聲音清脆的孩子們還在歌唱，棕櫚葉鋪的屋頂也在顫動(dòng)。
納波河：那不是荒僻的地方。那是個(gè)有人煙的地域，像杯子盛載往里倒的水那樣，納波河接住照射下來(lái)的陽(yáng)光;那是個(gè)充滿清新空氣的低洼地區(qū)，一片翠綠的盆地，環(huán)境優(yōu)美的盆地，看來(lái)還是個(gè)平靜的盆地。
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