While the milliners of the Grifoni establishment were industriously3 shaping dresses, the sculptors4 in Luca Lomi’s workshop were, in their way, quite as hard at work shaping marble and clay. In the smaller of the two rooms the young nobleman (only addressed in the studio by his Christian5 name of Fabio) was busily engaged on his bust6, with Nanina sitting before him as a model. His was not one of those traditional Italian faces from which subtlety7 and suspicion are always supposed to look out darkly on the world at large. Both countenance8 and expression proclaimed his character frankly9 and freely to all who saw him. Quick intelligence looked brightly from his eyes; and easy good humor laughed out pleasantly in the rather quaint10 curve of his lips. For the rest, his face expressed the defects as well as the merits of his character, showing that he wanted resolution and perseverance11 just as plainly as it showed also that he possessed12 amiability13 and intelligence.
At the end of the large room, nearest to the street door, Luca Lomi was standing14 by his life-size statue of Minerva; and was issuing directions, from time to time, to some of his workmen, who were roughly chiseling16 the drapery of another figure. At the opposite side of the room, nearest to the partition, his brother, Father Rocco, was taking a cast from a statuette of the Madonna; while Maddalena Lomi, the sculptor’s daughter, released from sitting for Minerva’s face, walked about the two rooms, and watched what was going on in them.
There was a strong family likeness17 of a certain kind between father, brother and daughter. All three were tall, handsome, dark-haired, and dark-eyed; nevertheless, they differed in expression, strikingly as they resembled one another in feature. Maddalena Lomi’s face betrayed strong passions, but not an ungenerous nature. Her father, with the same indications of a violent temper, had some sinister18 lines about his mouth and forehead which suggested anything rather than an open disposition19. Father Rocco’s countenance, on the other hand, looked like the personification of absolute calmness and invincible20 moderation; and his manner, which, in a very firm way, was singularly quiet and deliberate, assisted in carrying out the impression produced by his face. The daughter seemed as if she could fly into a passion at a moment’s notice, and forgive also at a moment’s notice. The father, appearing to be just as irritable21, had something in his face which said, as plainly as if in words, “Anger me, and I never pardon.” The priest looked as if he need never be called on either to ask forgiveness or to grant it, for the double reason that he could irritate nobody else, and that nobody else could irritate him.
“Rocco,” said Luca, looking at the face of his Minerva, which was now finished, “this statue of mine will make a sensation.”
“I am glad to hear it,” rejoined the priest, dryly.
“It is a new thing in art,” continued Luca, enthusiastically. “Other sculptors, with a classical subject like mine, limit themselves to the ideal classical face, and never think of aiming at individual character. Now I do precisely23 the reverse of that. I get my handsome daughter, Maddalena, to sit for Minerva, and I make an exact likeness of her. I may lose in ideal beauty, but I gain in individual character. People may accuse me of disregarding established rules; but my answer is, that I make my own rules. My daughter looks like a Minerva, and there she is exactly as she looks.”
“It is certainly a wonderful likeness,” said Father Rocco, approaching the statue.
“It the girl herself,” cried the other. “Exactly her expression, and exactly her features. Measure Maddalena, and measure Minerva, and from forehead to chin, you won’t find a hair-breadth of difference between them.”
“But how about the bust and arms of the figure, now the face is done?” asked the priest, returning, as he spoke24, to his own work.
“I may have the very model I want for them to-morrow. Little Nanina has just given me the strangest message. What do you think of a mysterious lady admirer who offers to sit for the bust and arms of my Minerva?”
“Are you going to accept the offer?” inquired the priest.
“I am going to receive her to-morrow; and if I really find that she is the same height as Maddalena, and has a bust and arms worth modeling, of course I shall accept her offer; for she will be the very sitter I have been looking after for weeks past. Who can she be? That’s the mystery I want to find out. Which do you say, Rocco—an enthusiast22 or an adventuress?”
“I do not presume to say, for I have no means of knowing.”
“Ah, there you are with your moderation again. Now, I do presume to assert that she must be either one or the other—or she would not have forbidden Nanina to say anything about her in answer to all my first natural inquiries25. Where is Maddalena? I thought she was here a minute ago.”
“She is in Fabio’s room,” answered Father Rocco, softly. “Shall I call her?”
“No, no!” returned Luca. He stopped, looked round at the workmen, who were chipping away mechanically at their bit of drapery; then advanced close to the priest, with a cunning smile, and continued in a whisper, “If Maddalena can only get from Fabio’s room here to Fabio’s palace over the way, on the Arno—come, come, Rocco! don’t shake your head. If I brought her up to your church door one of these days, as Fabio d’Ascoli’s betrothed26, you would be glad enough to take the rest of the business off my hands, and make her Fabio d’Ascoli’s wife. You are a very holy man, Rocco, but you know the difference between the clink of the money-bag and the clink of the chisel15 for all that!”
“I am sorry to find, Luca,” returned the priest, coldly, “that you allow yourself to talk of the most delicate subjects in the coarsest way. This is one of the minor27 sins of the tongue which is growing on you. When we are alone in the studio, I will endeavor to lead you into speaking of the young man in the room there, and of your daughter, in terms more becoming to you, to me, and to them. Until that time, allow me to go on with my work.”
Luca shrugged28 his shoulders, and went back to his statue. Father Rocco, who had been engaged during the last ten minutes in mixing wet plaster to the right consistency29 for taking a cast, suspended his occupation; and crossing the room to a corner next the partition, removed from it a cheval-glass which stood there. He lifted it away gently, while his brother’s back was turned, carried it close to the table at which he had been at work, and then resumed his employment of mixing the plaster. Having at last prepared the composition for use, he laid it over the exposed half of the statuette with a neatness and dexterity30 which showed him to be a practiced hand at cast-taking. Just as he had covered the necessary extent of surface, Luca turned round from his statue.
“How are you getting on with the cast?” he asked. “Do you want any help?”
“None, brother, I thank you,” answered the priest. “Pray do not disturb either yourself or your workmen on my account.”
Luca turned again to the statue; and, at the same moment, Father Rocco softly moved the cheval-glass toward the open doorway between the two rooms, placing it at such an angle as to make it reflect the figures of the persons in the smaller studio. He did this with significant quickness and precision. It was evidently not the first time he had used the glass for purposes of secret observation.
Mechanically stirring the wet plaster round and round for the second casting, the priest looked into the glass, and saw, as in a picture, all that was going forward in the inner room. Maddalena Lomi was standing behind the young nobleman, watching the progress he made with his bust. Occasionally she took the modeling tool out of his hand, and showed him, with her sweetest smile, that she, too, as a sculptor’s daughter, understood something of the sculptor’s art; and now and then, in the pauses of the conversation, when her interest was especially intense in Fabio’s work, she suffered her hand to drop absently on his shoulder, or stooped forward so close to him that her hair mingled31 for a moment with his. Moving the glass an inch or two, so as to bring Nanina well under his eye, Father Rocco found that he could trace each repetition of these little acts of familiarity by the immediate32 effect which they produced on the girl’s face and manner. Whenever Maddalena so much as touched the young nobleman—no matter whether she did so by premeditation, or really by accident—Nanina’s features contracted, her pale cheeks grew paler, she fidgeted on her chair, and her fingers nervously33 twisted and untwisted the loose ends of the ribbon fastened round her waist.
“Jealous,” thought Father Rocco; “I suspected it weeks ago.”
He turned away, and gave his whole attention for a few minutes to the mixing of the plaster. When he looked back again at the glass, he was just in time to witness a little accident which suddenly changed the relative positions of the three persons in the inner room.
He saw Maddalena take up a modeling tool which lay on a table near her, and begin to help Fabio in altering the arrangement of the hair in his bust. The young man watched what she was doing earnestly enough for a few moments; then his attention wandered away to Nanina. She looked at him reproachfully, and he answered by a sign which brought a smile to her face directly. Maddalena surprised her at the instant of the change; and, following the direction of her eyes, easily discovered at whom the smile was directed. She darted34 a glance of contempt at Nanina, threw down the modeling tool, and turned indignantly to the young sculptor, who was affecting to be hard at work again.
“Signor Fabio,” she said, “the next time you forget what is due to your rank and yourself, warn me of it, if you please, beforehand, and I will take care to leave the room.” While speaking the last words, she passed through the doorway. Father Rocco, bending abstractedly over his plaster mixture, heard her continue to herself in a whisper, as she went by him, “If I have any influence at all with my father, that impudent35 beggar-girl shall be forbidden the studio.”
“Jealousy on the other side,” thought the priest. “Something must be done at once, or this will end badly.”
He looked again at the glass, and saw Fabio, after an instant of hesitation36, beckon37 to Nanina to approach him. She left her seat, advanced half-way to his, then stopped. He stepped forward to meet her, and, taking her by the hand, whispered earnestly in her ear. When he had done, before dropping her hand, he touched her cheek with his lips, and then helped her on with the little white mantilla which covered her head and shoulders out-of-doors. The girl trembled violently, and drew the linen38 close to her face as Fabio walked into the larger studio, and, addressing Father Rocco, said:
“I am afraid I am more idle, or more stupid, than ever to-day. I can’t get on with the bust at all to my satisfaction, so I have cut short the sitting, and given Nanina a half-holiday.”
At the first sound of his voice, Maddalena, who was speaking to her father, stopped, and, with another look of scorn at Nanina standing trembling in the doorway, left the room. Luca Lomi called Fabio to him as she went away, and Father Rocco, turning to the statuette, looked to see how the plaster was hardening on it. Seeing them thus engaged, Nanina attempted to escape from the studio without being noticed; but the priest stopped her just as she was hurrying by him.
“My child,” said he, in his gentle, quiet way, “are you going home?”
Nanina’s heart beat too fast for her to reply in words; she could only answer by bowing her head.
“Take this for your little sister,” pursued Father Rocco, putting a few silver coins in her hand; “I have got some customers for those mats she plaits so nicely. You need not bring them to my rooms; I will come and see you this evening, when I am going my rounds among my parishioners, and will take the mats away with me. You are a good girl, Nanina—you have always been a good girl—and as long as I am alive, my child, you shall never want a friend and an adviser39.”
Nanina’s eyes filled with tears. She drew the mantilla closer than ever round her face, as she tried to thank the priest. Father Rocco nodded to her kindly40, and laid his hand lightly on her head for a moment, then turned round again to his cast.
“Don’t forget my message to the lady who is to sit to me to-morrow,” said Luca to Nanina, as she passed him on her way out of the studio.
After she had gone, Fabio returned to the priest, who was still busy over his cast.
“I hope you will get on better with the bust to-morrow,” said Father Rocco, politely; “I am sure you cannot complain of your model.”
“Complain of her!” cried the young man, warmly; “she has the most beautiful head I ever saw. If I were twenty times the sculptor that I am, I should despair of being able to do her justice.”
He walked into the inner room to look at his bust again—lingered before it for a little while—and then turned to retrace41 his steps to the larger studio. Between him and the doorway stood three chairs. As he went by them, he absently touched the backs of the first two, and passed the third; but just as he was entering the larger room, stopped, as if struck by a sudden recollection, returned hastily, and touched the third chair. Raising his eyes, as he approached the large studio again after doing this, he met the eyes of the priest fixed42 on him in unconcealed astonishment43.
“Signor Fabio!” exclaimed Father Rocco, with a sarcastic44 smile, “who would ever have imagined that you were superstitious45?”
“My nurse was,” returned the young man, reddening, and laughing rather uneasily. “She taught me some bad habits that I have not got over yet.” With those words he nodded and hastily went out.
“Superstitious,” said Father Rocco softly to himself. He smiled again, reflected for a moment, and then, going to the window, looked into the street. The way to the left led to Fabio’s palace, and the way to the right to the Campo Santo, in the neighborhood of which Nanina lived. The priest was just in time to see the young sculptor take the way to the right.
After another half-hour had elapsed, the two workmen quitted the studio to go to dinner, and Luca and his brother were left alone.
“We may return now,” said Father Rocco, “to that conversation which was suspended between us earlier in the day.”
“I have nothing more to say,” rejoined Luca, sulkily.
“Then you can listen to me, brother, with the greater attention,” pursued the priest. “I objected to the coarseness of your tone in talking of our young pupil and your daughter; I object still more strongly to your insinuation that my desire to see them married (provided always that they are sincerely attached to each other) springs from a mercenary motive46.”
“You are trying to snare47 me, Rocco, in a mesh48 of fine phrases; but I am not to be caught. I know what my own motive is for hoping that Maddalena may get an offer of marriage from this wealthy young gentleman—she will have his money, and we shall all profit by it. That is coarse and mercenary, if you please; but it is the true reason why I want to see Maddalena married to Fabio. You want to see it, too—and for what reason, I should like to know, if not for mine?”
“Of what use would wealthy relations be to me? What are people with money—what is money itself—to a man who follows my calling?”
“Money is something to everybody.”
“Is it? When have you found that I have taken any account of it? Give me money enough to buy my daily bread, and to pay for my lodging49 and my coarse cassock, and though I may want much for the poor, for myself I want no more. Then have you found me mercenary? Do I not help you in this studio, for love of you and of the art, without exacting50 so much as journeyman’s wages? Have I ever asked you for more than a few crowns to give away on feast-days among my parishioners? Money! money for a man who may be summoned to Rome to-morrow, who may be told to go at half an hour’s notice on a foreign mission that may take him to the ends of the earth, and who would be ready to go the moment when he was called on! Money to a man who has no wife, no children, no interests outside the sacred circle of the Church! Brother, do you see the dust and dirt and shapeless marble chips lying around your statue there? Cover that floor instead with gold, and, though the litter may have changed in color and form, in my eyes it would be litter still.”
“A very noble sentiment, I dare say, Rocco, but I can’t echo it. Granting that you care nothing for money, will you explain to me why you are so anxious that Maddalena should marry Fabio? She has had offers from poorer men—you knew of them—but you have never taken the least interest in her accepting or rejecting a proposal before.”
“I hinted the reason to you, months ago, when Fabio first entered the studio.”
“It was rather a vague hint, brother; can’t you be plainer to-day?”
“I think I can. In the first place, let me begin by assuring you that I have no objection to the young man himself. He may be a little capricious and undecided, but he has no incorrigible51 faults that I have discovered.”
“That is rather a cool way of praising him, Rocco.”
“I should speak of him warmly enough, if he were not the representative of an intolerable corruption52, and a monstrous53 wrong. Whenever I think of him I think of an injury which his present existence perpetuates54; and if I do speak of him coldly, it is only for that reason.”
Luca looked away quickly from his brother, and began kicking absently at the marble chips which were scattered55 over the floor around him.
“I now remember,” he said, “what that hint of yours pointed56 at. I know what you mean.”
“Then you know,” answered the priest, “that while part of the wealth which Fabio d’Ascoli possesses is honestly and incontestably his own; part, also, has been inherited by him from the spoilers and robbers of the Church—”
“Blame his ancestors for that; don’t blame him.”
“I blame him as long as the spoil is not restored.”
“How do you know that it was spoil, after all?”
“I have examined more carefully than most men the records of the civil wars in Italy; and I know that the ancestors of Fabio d’Ascoli wrung57 from the Church, in her hour of weakness, property which they dared to claim as their right. I know of titles to lands signed away, in those stormy times, under the influence of fear, or through false representations of which the law takes no account. I call the money thus obtained spoil, and I say that it ought to be restored, and shall be restored, to the Church from which it was taken.”
“And what does Fabio answer to that, brother?”
“I have not spoken to him on the subject.”
“Why not?”
“Because I have, as yet, no influence over him. When he is married, his wife will have influence over him, and she shall speak.”
“Maddalena, I suppose? How do you know that she will speak?”
“Have I not educated her? Does she not understand what her duties are toward the Church, in whose bosom58 she has been reared?”
Luca hesitated uneasily, and walked away a step or two before he spoke again.
“Does this spoil, as you call it, amount to a large sum of money?” he asked, in an anxious whisper.
“I may answer that question, Luca, at some future time,” said the priest. “For the present, let it be enough that you are acquainted with all I undertook to inform you of when we began our conversation. You now know that if I am anxious for this marriage to take place, it is from motives59 entirely60 unconnected with self-interest. If all the property which Fabio’s ancestors wrongfully obtained from the Church were restored to the Church to-morrow, not one paulo of it would go into my pocket. I am a poor priest now, and to the end of my days shall remain so. You soldiers of the world, brother, fight for your pay; I am a soldier of the Church, and I fight for my cause.”
Saying these words, he returned abruptly61 to the statuette; and refused to speak, or leave his employment again, until he had taken the mold off, and had carefully put away the various fragments of which it consisted. This done, he drew a writing-desk from the drawer of his working-table, and taking out a slip of paper wrote these lines:
“Come down to the studio to-morrow. Fabio will be with us, but Nanina will return no more.”
Without signing what he had written, he sealed it up, and directed it to “Donna Maddalena”; then took his hat, and handed the note to his brother.
“Oblige me by giving that to my niece,” he said.
“Tell me, Rocco,” said Luca, turning the note round and round perplexedly between his finger and thumb; “do you think Maddalena will be lucky enough to get married to Fabio?”
“Still coarse in your expressions, brother!”
“Never mind my expressions. Is it likely?”
“Yes, Luca, I think it is likely.”
With those words he waved his hand pleasantly to his brother, and went out.
点击
收听单词发音
收听单词发音 |
1
sculptor
|
|
| n.雕刻家，雕刻家 | |
参考例句： |
|
|
|
|
2
doorway
|
|
| n.门口，(喻)入门；门路，途径 | |
参考例句： |
|
|
|
|
3
industriously
|
|
参考例句： |
|
|
|
|
4
sculptors
|
|
| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
参考例句： |
|
|
|
|
5
Christian
|
|
| adj.基督教徒的；n.基督教徒 | |
参考例句： |
|
|
|
|
6
bust
|
|
| vt.打破；vi.爆裂；n.半身像；胸部 | |
参考例句： |
|
|
|
|
7
subtlety
|
|
| n.微妙，敏锐，精巧；微妙之处，细微的区别 | |
参考例句： |
|
|
|
|
8
countenance
|
|
| n.脸色，面容；面部表情；vt.支持，赞同 | |
参考例句： |
|
|
|
|
9
frankly
|
|
| adv.坦白地，直率地；坦率地说 | |
参考例句： |
|
|
|
|
10
quaint
|
|
| adj.古雅的，离奇有趣的，奇怪的 | |
参考例句： |
|
|
|
|
11
perseverance
|
|
| n.坚持不懈，不屈不挠 | |
参考例句： |
|
|
|
|
12
possessed
|
|
| adj.疯狂的；拥有的，占有的 | |
参考例句： |
|
|
|
|
13
amiability
|
|
| n.和蔼可亲的，亲切的，友善的 | |
参考例句： |
|
|
|
|
14
standing
|
|
| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
参考例句： |
|
|
|
|
15
chisel
|
|
| n.凿子；v.用凿子刻，雕，凿 | |
参考例句： |
|
|
|
|
16
chiseling
|
|
| v.凿，雕，镌( chisel的现在分词 ) | |
参考例句： |
|
|
|
|
17
likeness
|
|
| n.相像，相似（之处） | |
参考例句： |
|
|
|
|
18
sinister
|
|
| adj.不吉利的，凶恶的，左边的 | |
参考例句： |
|
|
|
|
19
disposition
|
|
| n.性情，性格；意向，倾向；排列，部署 | |
参考例句： |
|
|
|
|
20
invincible
|
|
| adj.不可征服的，难以制服的 | |
参考例句： |
|
|
|
|
21
irritable
|
|
| adj.急躁的；过敏的；易怒的 | |
参考例句： |
|
|
|
|
22
enthusiast
|
|
| n.热心人，热衷者 | |
参考例句： |
|
|
|
|
23
precisely
|
|
| adv.恰好，正好，精确地，细致地 | |
参考例句： |
|
|
|
|
24
spoke
|
|
| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
参考例句： |
|
|
|
|
25
inquiries
|
|
| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
参考例句： |
|
|
|
|
26
betrothed
|
|
| n. 已订婚者 动词betroth的过去式和过去分词 | |
参考例句： |
|
|
|
|
27
minor
|
|
| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
参考例句： |
|
|
|
|
28
shrugged
|
|
| vt.耸肩（shrug的过去式与过去分词形式） | |
参考例句： |
|
|
|
|
29
consistency
|
|
| n.一贯性，前后一致，稳定性；(液体的)浓度 | |
参考例句： |
|
|
|
|
30
dexterity
|
|
| n.(手的)灵巧，灵活 | |
参考例句： |
|
|
|
|
31
mingled
|
|
| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
参考例句： |
|
|
|
|
32
immediate
|
|
| adj.立即的；直接的，最接近的；紧靠的 | |
参考例句： |
|
|
|
|
33
nervously
|
|
| adv.神情激动地，不安地 | |
参考例句： |
|
|
|
|
34
darted
|
|
| v.投掷，投射( dart的过去式和过去分词 )；向前冲，飞奔 | |
参考例句： |
|
|
|
|
35
impudent
|
|
| adj.鲁莽的，卑鄙的，厚颜无耻的 | |
参考例句： |
|
|
|
|
36
hesitation
|
|
| n.犹豫，踌躇 | |
参考例句： |
|
|
|
|
37
beckon
|
|
| v.(以点头或打手势)向...示意，召唤 | |
参考例句： |
|
|
|
|
38
linen
|
|
| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
参考例句： |
|
|
|
|
39
adviser
|
|
| n.劝告者，顾问 | |
参考例句： |
|
|
|
|
40
kindly
|
|
| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
参考例句： |
|
|
|
|
41
retrace
|
|
| v.折回；追溯，探源 | |
参考例句： |
|
|
|
|
42
fixed
|
|
| adj.固定的，不变的，准备好的；(计算机)固定的 | |
参考例句： |
|
|
|
|
43
astonishment
|
|
| n.惊奇，惊异 | |
参考例句： |
|
|
|
|
44
sarcastic
|
|
| adj.讥讽的，讽刺的，嘲弄的 | |
参考例句： |
|
|
|
|
45
superstitious
|
|
| adj.迷信的 | |
参考例句： |
|
|
|
|
46
motive
|
|
| n.动机，目的；adv.发动的，运动的 | |
参考例句： |
|
|
|
|
47
snare
|
|
| n.陷阱，诱惑，圈套；（去除息肉或者肿瘤的）勒除器；响弦，小军鼓；vt.以陷阱捕获，诱惑 | |
参考例句： |
|
|
|
|
48
mesh
|
|
| n.网孔，网丝，陷阱；vt.以网捕捉，啮合，匹配；vi.适合； [计算机]网络 | |
参考例句： |
|
|
|
|
49
lodging
|
|
| n.寄宿，住所；(大学生的)校外宿舍 | |
参考例句： |
|
|
|
|
50
exacting
|
|
| adj.苛求的，要求严格的 | |
参考例句： |
|
|
|
|
51
incorrigible
|
|
| adj.难以纠正的，屡教不改的 | |
参考例句： |
|
|
|
|
52
corruption
|
|
| n.腐败，堕落，贪污 | |
参考例句： |
|
|
|
|
53
monstrous
|
|
| adj.巨大的；恐怖的；可耻的，丢脸的 | |
参考例句： |
|
|
|
|
54
perpetuates
|
|
| n.使永存，使人记住不忘( perpetuate的名词复数 )；使永久化，使持久化，使持续 | |
参考例句： |
|
|
|
|
55
scattered
|
|
| adj.分散的，稀疏的；散步的；疏疏落落的 | |
参考例句： |
|
|
|
|
56
pointed
|
|
| adj.尖的，直截了当的 | |
参考例句： |
|
|
|
|
57
wrung
|
|
| 绞( wring的过去式和过去分词 )； 握紧（尤指别人的手）； 把（湿衣服）拧干； 绞掉（水） | |
参考例句： |
|
|
|
|
58
bosom
|
|
| n.胸，胸部；胸怀；内心；adj.亲密的 | |
参考例句： |
|
|
|
|
59
motives
|
|
| n.动机，目的( motive的名词复数 ) | |
参考例句： |
|
|
|
|
60
entirely
|
|
| ad.全部地，完整地；完全地，彻底地 | |
参考例句： |
|
|
|
|
61
abruptly
|
|
| adv.突然地，出其不意地 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |