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提问人:网友anonymity 发布时间:2022-01-07
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Tongue-tied Several weeks ago I was riding in a cab when the driver's eyes caught mine in the

Tongue-tied

Several weeks ago I was riding in a cab when the driver's eyes caught mine in the rear view mirror and he said, "Excuse me, Miss? Can you help me?"

As any hard-bitten city dweller knows, the correct answer to a question like "Can you help me?" should always be some version of "It depends." I chirped, "Sure."

"Thank you," he said. He passed a slip of yellow paper into the back seat.

I stared at the paper, wondering. Was this a joke? A threat? Hand-printed on the paper in tiny block letters was this:

proverb

peculiar

idiomatic

"Please," he said. "What is the meaning of these words?"

I stared at the words in the distressed way you might stare at party guests whose faces you've seen somewhere before but whose names have escaped your mind. Proverb? Peculiar? Idiomatic? How on earth should I know? It's one thing to use a word, it's another to explain it. I resorted to shifting the topic.

"Where did you get these words?"

The driver explained that he was Pakistani. He listened to the radio as he drove and often jotted down unfamiliar, fascinating words whose meanings and spellings he then sought from his passengers.

"Peculiar," he said. "What does this mean?"

I could manage that one. "Strange," I said. "Odd. Often with a hint of something suspicious."

"Thank you, Miss. And idiomatic?"

I cleared my throat. "Um, it's a, well, um. It involves a peculiar use of the language."

I thought my use of peculiar was kind of clever. He looked confused, a reminder that clever's not clever if it doesn't communicate.

"Uh, let's see. 'Idiomatic' is related to the word 'idiom'. An idiom's something that's used in, say, a particular part of the country or by a particular group of people. People who aren't part of that group aren't likely to use it and might not understand it."

Watching his puzzled look, I did what a person often does when at a loss for the right words: I went on talking, as if a thousand vague words would add up to one accurate definition.

"Can you give me an example?"

I racked my brains. "Gapers block ," I said. A peculiarly Chicago phrase.

But did it really qualify as idiomatic? I had no idea because the longer I thought about idioms the less sure I was what they were.

"And proverb?"

I should have told the poor man right then that I might be misleading him down the proverbial path, whatever that really means, but instead I said, "I think a proverb is kind of like an aphorism. But not quite."

"A what?"

"Never mind. A proverb is a condensed saying that teaches you a lesson."

"An example?"

The meter clicked off a full 20 cents while I searched madly through my mind. "Haste makes waste?" I finally whimpered.

But was that a proverb? Wait. Weren't proverbs actually stories, not just phrases? While I was convincing myself they were, he said, "Can an idiom be a proverb?"

I could answer that. Just not right now, now when it mattered, now when the fate of a curious, intelligent immigrant hung on the answers he assumed would fall from a native speaker's tongue as naturally as leaves from an October tree. So I retreated.

"Do most of your passengers give you answers when you ask for definitions?"

"Oh, yes, Miss. Very interesting definitions."

Until that moment, I'd been so inspired by the driver's determination to learn English, so enthralled by the chance to indulge my curiosity about words with another curious soul, that I didn't fully grasp the potential for linguistic fraud committed in this man's cab. Now I could barely allow myself to imagine what kind of deformed English he was being fed by cowards like me who couldn't simply say, "I don't really know my own language."

I can only trust that someone as curious as he is also owns a dictionary. And that he figures out that, no matter what his passengers may say, haste doesn't always make waste at the gapers block.

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第4题
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第5题
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It's Christmas Eve 2040, and I'm the only bartender still working that afternoon, and the house is practically empty. I see this guy down at the end of the bar, sitting by himself. I bring him a fresh drink, and wish him greetings of the season. He looks at me, sort of funny, and says: "Do you know who I am?"

I admit I don't.

"Here, maybe this will help," he says, and he pulls a little picture out of his wallet. Art old portrait, really old, like centuries old. It's a young man in profile: sharp nose, weak chin, definite resemblance to ray friend here. At the bottom, there's a caption: "W. A. Mozart."

Now it's my turn to look at him funny. Then it hits me like a brick. "You're that clone guy," I say. "The guy in the papers back in the '20s."

"In the flesh. Wolfgang Amadeus Mozart. I have his brain, his heart, his DNA. He's my father and my mother and my brother. He's my identical twin, except I was born 247 years later."

So he starts talking. It takes him a long time to explain, and I didn't get it all, but I got a lot.

In 2001, Congress passed a ban on cloning humans, but of course mad scientists went ahead with secret cloning.

And then, there was this software billionaire who was nuts about Mozart, and was especially nuts about Mozart's Requiem. He set up a secret institute in Switzerland and hired some top biologists and told them they'd get $1 million each for every baby they cloned from Mozart's DNA.

In 2003, the institute managed to bring four babies to term. Two died shortly after birth. Two survived. But then this software billionaire died, and his company collapsed, and so did his cloning institute. One baby Mozart was put up for adoption anonymously. No one knows what happened to that one. The other baby was adopted by one of the scientists, who was a big Mozart fan herself.

"And that's me," he says.

His mother, of course, didn't tell him or anyone else who he was, but she told the boy how special he was, how he was a genius, what a great composer he could be, trying to push her little Mozart toward music.

But the 2010s weren't the 1760s. The boy may have had talent, but he also had his own priorities, and they didn't include violin sonatas. He liked rock music and he liked it loud, and then as he got older he liked beer and girls. The harder his mother pushed him to be a great composer, the less he wanted to be one. After a while his mother gave up. By the time he was 2o, he had a decent job working in a frame shop. And that's when the roof fell in.

Some reporter got wind of the institute and the cloning experiment and tracked him down. But no one could prove he was a clone of Mozart without digging up the original, so the media treated him as a joke. It just crushed him. He tried running away. He joined a Buddhist monastery in Japan. One day, while he was there, he heard the Requiem. Not for the first time, but this time it was different.

"My God, it was beautiful!" he says. "I felt a realization explode inside my head. I just felt it somehow: It rang inside of me. I'd finish it, or die trying." He knew that if he could finish the Requiem, he'd be famous for real, a genius instead of a fool. He immersed himself in Mozart's music. Nights, weekends, all the time, he drove himself, working on the Requiem.

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"I turned 37 four months ago. I've been working on the Requiem for 15 years. Mozart died when he was 35. I should have finished the Requiem two years ago."

"And you haven't."

He looks at me for a while and shakes his head, "You don't understand. I have his genes but not his genius."

And with that he drops a tip on the bar and is gone. I never saw him again. If the Requiem was ever finished, I never heard about it.

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