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CHAPTER IV
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 It was a gay scene over at the art school next morning. Even before the accustomed hour the big barnlike room, with a few prize pictures of former classes scattered1 about the walls, and with the old academy easels standing2 about like a caravan3 of patient camels ever loaded with new burdens but ever traveling the same ancient sands of art—even before nine o'clock the barnlike room presented a scene of eager healthy animal spirits. On the easel of every youthful worker, nearly finished, lay the portrait of the mother. In every case it had been differently done, inadequately4 done; but in all cases it had been done. Hardly could any observer have failed to recognize what was there depicted5. Beyond smearings and daubings of paint, as past the edges of concealing7 clouds, one caught glimpses of a serene8 and steadfast9 human radiance. There one beheld10 the familiar image of that orb11 which in dark and pathless hours has through all ages been the guardian12 light of the world—the mother.
 
The best in them had gone into the painting of this portrait, and the consciousness of our best gives us the sense of our power, and the consciousness of our power yields us our enthusiasm; hence the exhilaration and energy of the studio scene.
 
The interest of the members of the class was not concerned solely13 with the portrait, however: a larger share went to the model herself. They had become strongly bound to her. All the more perhaps because she held them firmly to the understanding that her life touched theirs only at the point of the stranger in need of a small sum of money. Repulsed14 and baffled in their wish to know her better, they nevertheless became aware that she was undergoing a wonderful transformation15 on her own account. The change had begun after the ordeal16 of the first morning. When she returned for the second sitting, and then at later sittings, they had remarked this change, and had spoken of it to one another—that she was as a person into whose life some joyous18, unbelievable event has fallen, brightening the present and the future. Every day some old cloudy care seemed to loose itself from its lurking-place and drift away from her mind, leaving her face less obscured and thus the more beautifully revealed to them. Now, with the end of the sit tings not far off, what they looked forward to with most regret was the last sitting, when she, leaving her portrait in their hands, would herself vanish, taking with her both the mystery of her old sorrows and the mystery of this new happiness.
 
Promptly19 at nine o'clock the teacher of the class entered, greeted them, and glanced around for the model. Not seeing her, he looked at his watch, then without comment crossed to the easels, and studied again the progress made the previous day, correcting, approving, guiding, encouraging. His demeanor20 showed that he entered into the mounting enthusiasm of his class for this particular piece of work.
 
A few minutes were thus quickly consumed. Then, watch in hand once more, he spoke17 of the absence of the model:
 
"Something seems to detain the model this morning. But she has sent me no word and she will no doubt be here in a few minutes."
 
He went back to the other end of the studio and sat down, facing them with the impressiveness which belonged to him even without speech. They fixed21 their eyes on him with the usual expectancy22. Whenever as now an unforeseen delay occurred, he was always prompt to take advantage of the interval23 with a brief talk. To them there were never enough of these brief talks, which invariably drew human life into relationship to the art of portraiture24, and set the one reality over against the other reality—the turbulence25 of a human life and the still image of it on the canvas. They hoped he would thus talk to them now; in truth he had the air of casting about in his mind for a theme best suited to the moment.
 
That mother, now absent, when she had blindly found her way to him, asking to pose, had fallen into good hands. He was a great teacher and he was a remarkable26 man, remarkable even to look at. Massively built, with a big head of black hair, olive complexion27, and bluntly pointed28, black beard, and with a mold of countenance29 grave and strong, he looked like a great Rembrandt; like some splendid full-length portrait by Rembrandt painted as that master painted men in the prime of his power. With the Rembrandt shadows on him even in life. Even when the sun beat down upon him outdoors, even when you met him in the blaze of the city streets, he seemed not to have emerged from shadow, to bear on him self the traces of a human night, a living darkness. There was light within him but it did not irradiate him.
 
Once he had been a headlong art student himself, starting out to become a great painter, a great one. After years abroad under the foremost masters and other years of self-trial with every favorable circumstance his, nature had one day pointed her unswerved finger at his latest canvas as at the earlier ones and had judged him to the quick: you will never be a great painter. If you cannot be content to remain less, quit, stop!
 
Thus youth's choice and a man's half a lifetime of effort and ambition ended in abandonment of effort not because he was a failure but because the choice of a profession had been a blunder. A multitude of men topple into this chasm30 and crawl out nobody. Few of them at middle age in the darkness of that pit of failure can grope within themselves for some second candle and by it once more become illumined through and through. He found his second candle,—it should have been his first,—and he lighted it and it became the light of his later years; but it did not illumine him completely, it never dispelled31 the shadows of the flame that had burned out. What he did was this: having reached the end of his own career as a painter, he turned and made his way back to the fields of youth, and taking his stand by that ever fresh path, always, as students would rashly pass him, he halted them like a wise monitor, describing the best way to travel, warning of the difficulties of the country ahead, but insisting that the goal was worth the toil32 and the trouble; searching secretly among his pupils year after year for signs of what he was not, a great painter, and pouring out his sympathies on all those who, like himself, would never be one.
 
Now he sat looking across at his class, the masterful teacher of them. They sat looking responsively at him. Then he took up his favorite theme:
 
"Your work on this portrait is your best work, because the model, as I stated to you at the outset would be the case, has called forth33 your finer selves; she has caused you to feel. And she has been able to do this because her countenance, her whole being, radiates one of the great passions and faiths of our common humanity—the look of reverent34 motherhood. You recognize that look, that mood; you believe in it; you honor it; you have worked over its living eloquence35. Observe, then, the result. Turn to your canvases and see how, though proceeding36 differently, you have all dipped your brushes as in a common medium; how you have all drawn37 an identical line around that old-time human landmark38. You have in truth copied from her one of the great beacon-lights of expression that has been burning and signaling through ages upon ages of human history—the look of the mother, the angel of self-sacrifice to the earth.
 
"While we wait, we might go a little way into this general matter, since you, in the study of portraiture, will always have to deal with it. This look of hers, which you have caught on your canvases, and all the other great beacon-lights of human expression, stand of course for the inner energies of our lives, the leading forces of our characters. But, as ages pass, human life changes; its chief elements shift their relative places, some forcing their way to the front, others being pushed to the rear; and the prominent beacon-lights change correspondingly. Ancient ones go out, new ones appear; and the art of portraiture, which is the undying historian of the human countenance, is subject to this shifting law of the birth and death of its material.
 
"Perhaps more ancient lights have died out of human faces than modern lights have been kindled39 to replace them. Do you understand why? The reason is this: throughout an immeasurable time the aim of nature was to make the human countenance as complete an instrument of expression as it could possibly be. Man, except for his gestures and wordless sounds, for ages had nothing else with which to speak; he must speak with his face. And thus the primitive40 face became the chronicle of what was going on within him as well as of what had taken place without. It was his earliest bulletin-board of intelligence. It was the first parchment to bear tidings; it was the original newspaper; it was the rude, but vivid, primeval book of the woods. The human face was all that. Ages more had to pass before spoken language began, and still other ages before written language began. Thus for an immeasurable time nature developed the face and multiplied its expressions to enable man to make himself understood. At last this development was checked; what we may call the natural occupation of the face culminated41. Civilization began, and as soon as civilization began, the decline in natural expressiveness42 began with it. Gradually civilization supplanted43 primeval needs; it contrived44 other means for doing what the face alone had done frankly45, marvelously. When you can print news on paper, you may cease to print news on the living countenance. Moreover, the aim of civilization is to develop in us the consciousness not to express, but to suppress. Its aim is not to reveal, but to conceal6, thought and emotion; not to make the countenance a beacon-light, but a muffler of the inner candle, whatever that candle for the time may be. All our ruling passions, good or bad, noble or ignoble46, we now try publicly to hide. This is civilization. And thus the face, having started out expressionless in nature, tends through civilization to become expressionless again.
 
"How few faces does any one of us know that frankly radiate the great passions and moods of human nature! What little is left of this ancient tremendous drama is the poor pantomime of the stage. Search crowds, search the streets. See everywhere masked faces, telling as little as possible to those around them of what they glory in or what they suffer. Search modern portrait galleries. Do you find portraits of either men or women who radiate the overwhelming passions, the vital moods, of our galled47 and soaring nature? It is not a long time since the Middle Ages. In the stretch of history centuries shrink to nothing, and the Middle Ages are as the earlier hours of our own historic day. But has there not been a change even within that short time? Did not the medieval portrait-painters portray48 in their sitters great moods as no painter portrays49 them now? How many painters of to-day can find great moods in the faces of their sitters?
 
"And so I come again to your model. What makes her so remarkable, so significant, so touching50, so exquisite51, so human, is the fact that her face seems almost a survival out of a past in which the beacon-lights of humanity did more openly appear on the features. In her case one beacon-light most of all,—the greatest that has ever shone on the faces of women,—the one which seems to be slowly vanishing from the faces of modern women—the look of the mother: that transfiguration of the countenance of the mother who believed that the birth of a child was the divine event in her existence, and the emotions and energies of whose life centered about her offspring. How often does any living painter have his chance to paint that look now! Galleries are well filled with portraits of contemporary women who have borne children: how often among these is to be found the portrait of the mother of old?"
 
He rose. The talk was ended. He looked again at his watch, and said:
 
"It does not seem worth while to wait longer. Evidently your model has been kept away to-day. Let us hope that no ill has befallen her and that she will be here to-morrow. If she is here, we shall go on with the portrait. If she should not be here, I shall have another model ready, and we shall take up another study until she returns. Bring fresh canvases."
 
He left the room. They lingered; looking again at their canvases, understanding their own work as they had not hitherto and more strongly than ever drawn toward their model whom that day they missed. Slowly and with disappointment and with many conjectures52 as to why she had not come, they separated.
 

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1 scattered 7jgzKF     
adj.分散的,稀疏的;散步的;疏疏落落的
参考例句:
  • Gathering up his scattered papers,he pushed them into his case.他把散乱的文件收拾起来,塞进文件夹里。
2 standing 2hCzgo     
n.持续,地位;adj.永久的,不动的,直立的,不流动的
参考例句:
  • After the earthquake only a few houses were left standing.地震过后只有几幢房屋还立着。
  • They're standing out against any change in the law.他们坚决反对对法律做任何修改。
3 caravan OrVzu     
n.大蓬车;活动房屋
参考例句:
  • The community adviser gave us a caravan to live in.社区顾问给了我们一间活动住房栖身。
  • Geoff connected the caravan to the car.杰弗把旅行用的住屋拖车挂在汽车上。
4 inadequately TqQzb5     
ad.不够地;不够好地
参考例句:
  • As one kind of building materials, wood is inadequately sturdy. 作为一种建筑材料,木材不够结实。
  • Oneself is supported inadequately by the money that he earns. 他挣的钱不够养活自己。
5 depicted f657dbe7a96d326c889c083bf5fcaf24     
描绘,描画( depict的过去式和过去分词 ); 描述
参考例句:
  • Other animals were depicted on the periphery of the group. 其他动物在群像的外围加以修饰。
  • They depicted the thrilling situation to us in great detail. 他们向我们详细地描述了那激动人心的场面。
6 conceal DpYzt     
v.隐藏,隐瞒,隐蔽
参考例句:
  • He had to conceal his identity to escape the police.为了躲避警方,他只好隐瞒身份。
  • He could hardly conceal his joy at his departure.他几乎掩饰不住临行时的喜悦。
7 concealing 0522a013e14e769c5852093b349fdc9d     
v.隐藏,隐瞒,遮住( conceal的现在分词 )
参考例句:
  • Despite his outward display of friendliness, I sensed he was concealing something. 尽管他表现得友善,我还是感觉到他有所隐瞒。 来自《简明英汉词典》
  • SHE WAS BREAKING THE COMPACT, AND CONCEALING IT FROM HIM. 她违反了他们之间的约定,还把他蒙在鼓里。 来自英汉文学 - 三万元遗产
8 serene PD2zZ     
adj. 安详的,宁静的,平静的
参考例句:
  • He has entered the serene autumn of his life.他已进入了美好的中年时期。
  • He didn't speak much,he just smiled with that serene smile of his.他话不多,只是脸上露出他招牌式的淡定的微笑。
9 steadfast 2utw7     
adj.固定的,不变的,不动摇的;忠实的;坚贞不移的
参考例句:
  • Her steadfast belief never left her for one moment.她坚定的信仰从未动摇过。
  • He succeeded in his studies by dint of steadfast application.由于坚持不懈的努力他获得了学业上的成功。
10 beheld beheld     
v.看,注视( behold的过去式和过去分词 );瞧;看呀;(叙述中用于引出某人意外的出现)哎哟
参考例句:
  • His eyes had never beheld such opulence. 他从未见过这样的财富。 来自《简明英汉词典》
  • The soul beheld its features in the mirror of the passing moment. 灵魂在逝去的瞬间的镜子中看到了自己的模样。 来自英汉文学 - 红字
11 orb Lmmzhy     
n.太阳;星球;v.弄圆;成球形
参考例句:
  • The blue heaven,holding its one golden orb,poured down a crystal wash of warm light.蓝蓝的天空托着金色的太阳,洒下一片水晶般明亮温暖的光辉。
  • It is an emanation from the distant orb of immortal light.它是从远处那个发出不灭之光的天体上放射出来的。
12 guardian 8ekxv     
n.监护人;守卫者,保护者
参考例句:
  • The form must be signed by the child's parents or guardian. 这张表格须由孩子的家长或监护人签字。
  • The press is a guardian of the public weal. 报刊是公共福利的卫护者。
13 solely FwGwe     
adv.仅仅,唯一地
参考例句:
  • Success should not be measured solely by educational achievement.成功与否不应只用学业成绩来衡量。
  • The town depends almost solely on the tourist trade.这座城市几乎完全靠旅游业维持。
14 repulsed 80c11efb71fea581c6fe3c4634a448e1     
v.击退( repulse的过去式和过去分词 );驳斥;拒绝
参考例句:
  • I was repulsed by the horrible smell. 这种可怕的气味让我恶心。
  • At the first brush,the enemy was repulsed. 敌人在第一次交火时就被击退了。 来自《简明英汉词典》
15 transformation SnFwO     
n.变化;改造;转变
参考例句:
  • Going to college brought about a dramatic transformation in her outlook.上大学使她的观念发生了巨大的变化。
  • He was struggling to make the transformation from single man to responsible husband.他正在努力使自己由单身汉变为可靠的丈夫。
16 ordeal B4Pzs     
n.苦难经历,(尤指对品格、耐力的)严峻考验
参考例句:
  • She managed to keep her sanity throughout the ordeal.在那场磨难中她始终保持神志正常。
  • Being lost in the wilderness for a week was an ordeal for me.在荒野里迷路一星期对我来说真是一场磨难。
17 spoke XryyC     
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:
  • They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
  • The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。
18 joyous d3sxB     
adj.充满快乐的;令人高兴的
参考例句:
  • The lively dance heightened the joyous atmosphere of the scene.轻快的舞蹈给这场戏渲染了欢乐气氛。
  • They conveyed the joyous news to us soon.他们把这一佳音很快地传递给我们。
19 promptly LRMxm     
adv.及时地,敏捷地
参考例句:
  • He paid the money back promptly.他立即还了钱。
  • She promptly seized the opportunity his absence gave her.她立即抓住了因他不在场给她创造的机会。
20 demeanor JmXyk     
n.行为;风度
参考例句:
  • She is quiet in her demeanor.她举止文静。
  • The old soldier never lost his military demeanor.那个老军人从来没有失去军人风度。
21 fixed JsKzzj     
adj.固定的,不变的,准备好的;(计算机)固定的
参考例句:
  • Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗?
  • Once the aim is fixed,we should not change it arbitrarily.目标一旦确定,我们就不应该随意改变。
22 expectancy tlMys     
n.期望,预期,(根据概率统计求得)预期数额
参考例句:
  • Japanese people have a very high life expectancy.日本人的平均寿命非常长。
  • The atomosphere of tense expectancy sobered everyone.这种期望的紧张气氛使每个人变得严肃起来。
23 interval 85kxY     
n.间隔,间距;幕间休息,中场休息
参考例句:
  • The interval between the two trees measures 40 feet.这两棵树的间隔是40英尺。
  • There was a long interval before he anwsered the telephone.隔了好久他才回了电话。
24 portraiture JPhxz     
n.肖像画法
参考例句:
  • I am going to have my portraiture taken.我请人给自己画张肖像。
  • The painting of beautiful women was another field of portraiture.人物画中的另一个领域是仕女画。
25 turbulence 8m9wZ     
n.喧嚣,狂暴,骚乱,湍流
参考例句:
  • The turbulence caused the plane to turn over.空气的激流导致飞机翻转。
  • The world advances amidst turbulence.世界在动荡中前进。
26 remarkable 8Vbx6     
adj.显著的,异常的,非凡的,值得注意的
参考例句:
  • She has made remarkable headway in her writing skills.她在写作技巧方面有了长足进步。
  • These cars are remarkable for the quietness of their engines.这些汽车因发动机没有噪音而不同凡响。
27 complexion IOsz4     
n.肤色;情况,局面;气质,性格
参考例句:
  • Red does not suit with her complexion.红色与她的肤色不协调。
  • Her resignation puts a different complexion on things.她一辞职局面就全变了。
28 pointed Il8zB4     
adj.尖的,直截了当的
参考例句:
  • He gave me a very sharp pointed pencil.他给我一支削得非常尖的铅笔。
  • She wished to show Mrs.John Dashwood by this pointed invitation to her brother.她想通过对达茨伍德夫人提出直截了当的邀请向她的哥哥表示出来。
29 countenance iztxc     
n.脸色,面容;面部表情;vt.支持,赞同
参考例句:
  • At the sight of this photograph he changed his countenance.他一看见这张照片脸色就变了。
  • I made a fierce countenance as if I would eat him alive.我脸色恶狠狠地,仿佛要把他活生生地吞下去。
30 chasm or2zL     
n.深坑,断层,裂口,大分岐,利害冲突
参考例句:
  • There's a chasm between rich and poor in that society.那社会中存在着贫富差距。
  • A huge chasm gaped before them.他们面前有个巨大的裂痕。
31 dispelled 7e96c70e1d822dbda8e7a89ae71a8e9a     
v.驱散,赶跑( dispel的过去式和过去分词 )
参考例句:
  • His speech dispelled any fears about his health. 他的发言消除了人们对他身体健康的担心。
  • The sun soon dispelled the thick fog. 太阳很快驱散了浓雾。 来自《简明英汉词典》
32 toil WJezp     
vi.辛劳工作,艰难地行动;n.苦工,难事
参考例句:
  • The wealth comes from the toil of the masses.财富来自大众的辛勤劳动。
  • Every single grain is the result of toil.每一粒粮食都来之不易。
33 forth Hzdz2     
adv.向前;向外,往外
参考例句:
  • The wind moved the trees gently back and forth.风吹得树轻轻地来回摇晃。
  • He gave forth a series of works in rapid succession.他很快连续发表了一系列的作品。
34 reverent IWNxP     
adj.恭敬的,虔诚的
参考例句:
  • He gave reverent attention to the teacher.他恭敬地听老师讲课。
  • She said the word artist with a gentle,understanding,reverent smile.她说作家一词时面带高雅,理解和虔诚的微笑。
35 eloquence 6mVyM     
n.雄辩;口才,修辞
参考例句:
  • I am afraid my eloquence did not avail against the facts.恐怕我的雄辩也无补于事实了。
  • The people were charmed by his eloquence.人们被他的口才迷住了。
36 proceeding Vktzvu     
n.行动,进行,(pl.)会议录,学报
参考例句:
  • This train is now proceeding from Paris to London.这次列车从巴黎开往伦敦。
  • The work is proceeding briskly.工作很有生气地进展着。
37 drawn MuXzIi     
v.拖,拉,拔出;adj.憔悴的,紧张的
参考例句:
  • All the characters in the story are drawn from life.故事中的所有人物都取材于生活。
  • Her gaze was drawn irresistibly to the scene outside.她的目光禁不住被外面的风景所吸引。
38 landmark j2DxG     
n.陆标,划时代的事,地界标
参考例句:
  • The Russian Revolution represents a landmark in world history.俄国革命是世界历史上的一个里程碑。
  • The tower was once a landmark for ships.这座塔曾是船只的陆标。
39 kindled d35b7382b991feaaaa3e8ddbbcca9c46     
(使某物)燃烧,着火( kindle的过去式和过去分词 ); 激起(感情等); 发亮,放光
参考例句:
  • We watched as the fire slowly kindled. 我们看着火慢慢地燃烧起来。
  • The teacher's praise kindled a spark of hope inside her. 老师的赞扬激起了她内心的希望。
40 primitive vSwz0     
adj.原始的;简单的;n.原(始)人,原始事物
参考例句:
  • It is a primitive instinct to flee a place of danger.逃离危险的地方是一种原始本能。
  • His book describes the march of the civilization of a primitive society.他的著作描述了一个原始社会的开化过程。
41 culminated 2d1e3f978078666a2282742e3d1ca461     
v.达到极点( culminate的过去式和过去分词 )
参考例句:
  • a gun battle which culminated in the death of two police officers 一场造成两名警察死亡的枪战
  • The gala culminated in a firework display. 晚会以大放烟火告终。 来自《简明英汉词典》
42 expressiveness 5t7z1e     
n.富有表现力
参考例句:
  • His painting rose to a fresh expressiveness and revealed a shrewder insight. 他的画富有一种新的表达力,显示出更敏锐的洞察力。
  • The audiences are impressed by the expressiveness of the actors. 演员们的丰富表情给观众留下了深刻的印象。
43 supplanted 1f49b5af2ffca79ca495527c840dffca     
把…排挤掉,取代( supplant的过去式和过去分词 )
参考例句:
  • In most offices, the typewriter has now been supplanted by the computer. 当今许多办公室里,打字机已被电脑取代。
  • The prime minister was supplanted by his rival. 首相被他的政敌赶下台了。
44 contrived ivBzmO     
adj.不自然的,做作的;虚构的
参考例句:
  • There was nothing contrived or calculated about what he said.他说的话里没有任何蓄意捏造的成分。
  • The plot seems contrived.情节看起来不真实。
45 frankly fsXzcf     
adv.坦白地,直率地;坦率地说
参考例句:
  • To speak frankly, I don't like the idea at all.老实说,我一点也不赞成这个主意。
  • Frankly speaking, I'm not opposed to reform.坦率地说,我不反对改革。
46 ignoble HcUzb     
adj.不光彩的,卑鄙的;可耻的
参考例句:
  • There's something cowardly and ignoble about such an attitude.这种态度有点怯懦可鄙。
  • Some very great men have come from ignoble families.有些伟人出身低微。
47 galled f94b58dc6efd8961e328ed2a18460f06     
v.使…擦痛( gall的过去式和过去分词 );擦伤;烦扰;侮辱
参考例句:
  • Their unkind remarks galled her. 他们不友善的话语使她恼怒。 来自辞典例句
  • He was galled by her insulting language. 他被她侮辱性的语言激怒了。 来自辞典例句
48 portray mPLxy     
v.描写,描述;画(人物、景象等)
参考例句:
  • It is difficult to portray feelings in words.感情很难用言语来描写。
  • Can you portray the best and worst aspects of this job?您能描述一下这份工作最好与最坏的方面吗?
49 portrays e91d23abfcd9e0ee71757456ac840010     
v.画像( portray的第三人称单数 );描述;描绘;描画
参考例句:
  • The museum collection vividly portrays the heritage of 200 years of canals. 博物馆的藏品让运河200 年的历史再现眼前。 来自《简明英汉词典》
  • The film portrays Gandhi as a kind of superman. 这部电影把甘地描绘成一个超人。 来自《简明英汉词典》
50 touching sg6zQ9     
adj.动人的,使人感伤的
参考例句:
  • It was a touching sight.这是一幅动人的景象。
  • His letter was touching.他的信很感人。
51 exquisite zhez1     
adj.精美的;敏锐的;剧烈的,感觉强烈的
参考例句:
  • I was admiring the exquisite workmanship in the mosaic.我当时正在欣赏镶嵌画的精致做工。
  • I still remember the exquisite pleasure I experienced in Bali.我依然记得在巴厘岛所经历的那种剧烈的快感。
52 conjectures 8334e6a27f5847550b061d064fa92c00     
推测,猜想( conjecture的名词复数 )
参考例句:
  • That's weighing remote military conjectures against the certain deaths of innocent people. 那不过是牵强附会的军事假设,而现在的事实却是无辜者正在惨遭杀害,这怎能同日而语!
  • I was right in my conjectures. 我所猜测的都应验了。


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