在我童年的记忆中,只有故乡的那座桥对我的印象最深,还有那条并不美丽的小河。说起桥,就会想起河。想起它的清秀,想起它汩汩流动的清波,想起它鱼群嬉戏的情景。而故乡的小河,却并非这样。它经常断流,像已步入老年的爷爷,气喘吁吁的。小河干涸时,我们便结伴挖泥鳅。涨水时,河面就是我们的天地了,到处都是我们的身影。但终有一个“禁区”——河中有个很深的潭。我从未试过。因为相传那里有鬼,是的,那里水深,还打着漩涡,经常夺去伙伴们幼小的生命。最喜欢的,还是那座并不雄伟的小桥。桥上,卖糖葫芦、卖豆腐的,以及那些骑车嬉戏的行人来来往往,络绎不绝。吆喝声、欢笑声和岸边打铁坊传出来的有节奏的叮当声此起彼伏,又增添了许多生机。我爱趴在桥边看水里的小鱼,真有柳宗元的“影布石上,怡然不动;傲尔远逝,往来翕忽,似与游者相乐”之感。 In my childhood memories, the only bridge in my hometown was the deepest impression on me and there was a river that was not beautiful. Speaking of the bridge, you will think of the river. Remembering its delicate appearance, it reminds of its turbulent clear waves, and its fish school scene. The river in my hometown is not like this. It often stops flowing, like grandfather who has entered old age, panting. When the river dried up, we drowned in mud. When the water rises, the river is our world and everywhere we are. But there is a “restricted area” - there is a deep lake in the river. I have never tried it. Because it is said that there are ghosts there, yes, there is deep water, but also whirlpools, often rob young partners of their lives. Favorite, it is still not a majestic bridge. On the bridge, people selling candied gourds, tofu, and those who ride and play are coming and going. The sound of buzzing, laughter, and rhythmic jingling sounds coming from the shores of the iron and steel workshops have increased one after another. I love to look at the fish in the water by the bridge. I really like Liu Zongyuan’s “Imaging Stones on the canvas,” and the arrogance is gone, and the passing of the past is like a sense of pleasure with the visitors.