Immerse in Classic Audiobooks, then Master English
Thousands of timeless Project Gutenberg masterpieces — 100% free and completely ad-free! Experience LibriVox audio with word-by-word synchronized text, bilingual lookup, and an SRS vocabulary trainer.
TOWARD THE RISING SUN
THE big brothers sat in a sullen circle about the sitting-room table, the eldest smoking, the biggest studying his fingers, the youngest whittling jackstraws.
Near, silent and troubled, hovered the little girl, watching the three who, like the Fates themselves, seemed to be settling her destiny.
"So you don't want her to go," said the biggest, taking up the discussion where it had been dropped a few moments before; "though you know it was mother's last wish, an' that the youngster's always wanted it.
Well, your reasons; let's hear 'em again from first to last."
"What'll she do with all this eddication she's hankerin' for?"
demanded the eldest, flashing angry eyes around.
"Tell me that."
"Huh!"
grunted the biggest, and he threw back his head with a hearty laugh.
"Well!
well!"
he exclaimed, when he could speak; "_that's_ what's worrying you, is it!
Jus' let me ask _you_ something.
Did you ever hear of anybody in your life that had an eddication fastened on to 'em an' didn't know what t' do with it?
What'll _she_ do with it?
Wait till she's _got_ it.
Then she an' me'll sit down an' tell you a-a-all about it."
There was a note of ridicule in his voice that fired the eldest, who made no reply, but struck the wooden bowl of his pipe so savagely against his boot-heel that it split and fell from its stem.
Then he turned upon the youngest with a wave of the hand that commanded an opinion.
"Yes, what've _you_ got to say?"
inquired the biggest, also turning.
The youngest shrugged his shoulders.
"You two run the business to suit yourselves," he said; "I wash my hands of it."
He began another jackstraw without glancing up.
"That's good," said the biggest; "that counts you out."
He tilted his chair around until he faced the eldest.
"I'm no dog in the manger," he continued; "I didn't have a chance to learn more than the law allows, or to go to a city school.
But I wanted to, bad enough.
That's why I know how _she_ feels."
He pointed his thumb over his shoulder at the little girl.
"I'm for her goin'; an', whatever comes of it, I'll stand by her.
Books is all she wants--let her have 'em.
We ain't got no right to hold her back."
"She can have 'em here," interposed the eldest.
"Yes, along with work that's too hard on her.
You wouldn't think of puttin' a fine animal like the blue mare on the plow; no, of course you wouldn't. There's some horses born for teamin' an' some for high-toned carriage pullin'.
It happens in this case we ain't talkin' about a draft plug."
He was trembling in his earnestness.
After a pause he went on.
"She might stay here.
That's right.
But she'd never have a cent to call her own 'less she earned it teachin'.
Some way or other, the boys in a family always think they own the farm; girls ain't got no share, no matter how hard they've drudged around the kitchen or the garden, or even in the fields.
They can take anything that's given 'em till they marry; or they can hang around an' play nurse-girl an' kitchen-girl to their brothers' wives."
"I've always noticed," broke in the eldest, changing his ground, and ignoring what the biggest said, "that every country girl who goes to town polishes herself up like a milk-pan till she's worn off the prairie look, an' then she marries some dude with a head like an addled egg."
The biggest threw the little girl a swift, roguish glance.
"I ain't afraid of the dude part of it," he said; "I'm willin' to trust her taste, anyway.
I don't have to live with him; neither do you."
"Do you mean to say," asked the eldest, giving the table a blow with his fist, "that you think a city's the place for a girl, friends or no friends?
Nobody's goin' to look after her, when she leaves here, as careful as we do."
"The bishop," suggested the little girl, advancing almost imploringly.
"The bishop!"
sneered the youngest.
"I thought you washed your hands of this," reminded the biggest, with a look that instantly quieted the youngest; "I guess maybe you didn't get 'em clean.
At any rate, you'd better jus' make jackstraws."
He faced the eldest again.
"I say the city's no place for her," the latter continued hotly.
He pointed through the open door to where, above the ash-trees, a hawk was pursuing a field-sparrow that vainly, by sudden dips and rises, strove to escape its enemy.
"You see that?"
he cried.
"Well, in every city there's a thousand hawks with their claws out waiting to swoop down on them that don't watch.
She'd better not go, I say.
She'll be safe and happy here.
It was so long since mother'd seen a big place she forgot how it is there.
It's not too late to stop gettin' ready.
You'd better stay."
He stood up and whirled about upon the little girl.
The biggest brother gave a dissenting shake of the head.
"She'll be safe enough," he said.
"It's only when a little bird gets careless that the hawk gets him.
What do _you_ know about a city, anyhow?"
"The hardware man says--" began the eldest.
The biggest cut him short.
"There's some people in this world that can't do a lick of good," he said, "but they can do any amount of mischief.
That hardware man's one of 'em."
"She ain't got enough money to last her more 'n six months," the eldest asserted, once more changing ground.
"I've got what I've just made teaching," said the little girl.
The biggest shook a warning finger at her.
"I'm runnin' this parley-voo," he laughed.
Then he became serious again.
"She's got what she's jus' made teachin'," he agreed.
"Well, that won't last her long.
So--" He hesitated, arose, and began to walk the floor nervously.
"Course," he faltered, "I bought that quarter-section from the Swede.
But I don't need it more 'n a cat needs two tails.
Jus' bought it to be a-doin'.
So--I've concluded to call the bargain off, and buy some land later on.
The--the--youngster can have the little pile I've got."
For a moment no one spoke.
Then the little girl put out her arms, and the biggest brother drew her to him.
"That's the way we've settled it," he said.
His voice was husky, his eyes overflowing.
"I want to help her get away.
An'--an'--Heaven knows how I am going to miss her.
You two'll not feel it as I will."
He buried his face in her shoulder.
Finally he spoke again.
"Next year, when her money runs out, she'll have my share of the crop and herd; an' _every_ year she'll have my share till she's through an' ready to do something for herself.
Then I'll buy that quarter-section.
It belongs to the Swede boy.
He'll keep it to sell it to me any time in the next ten years.
He says so; that's _his_ part toward helpin' her."
"Oh, dear old brother," whispered the little girl, "thank you!
thank you!"
She was dangerously near to tears and could say no more.
"We've decided," said the biggest, "that we might as well get this thing over.
So--so--she's goin' to-day."
"To-day?"
The eldest and the youngest almost shouted in their surprise.
"Yes, to-day," repeated the biggest.
"She's goin' to do a little studyin' this summer; now, I'm goin' to hitch up," he added, as he kissed the little girl and went out.
The eldest and the youngest remained beside the table, the former battling with disappointment and sorrow, the latter suddenly wrathful and concerned.
As they sat there, the little girl packed a few last garments into a leather satchel and put on her hat and coat.
Then she climbed the stairs to the attic to tell the low, bare room good-by.
Ever afterward, when she thought of the farm-house, it was the attic that first pictured itself in her mind, for the rooms below had seen many improvements since her birth-night over fifteen years before, but the attic had remained unchanged.
Above the litter of barrels and boxes that covered the western half of the floor, hung the Christmas trimmings in their little bag; seeds for the spring planting, each kind done up separately; strings of dried peppers; rows of cob-corn, suspended by the shucks; slippery-elm, sage, and boneset in paper packages; unused powder-horns; and the big brothers' steel traps.
To the east of the stovepipe were their beds, covered with patchwork quilts made by the mother, and the boxes in which they kept their clothes and trinkets.
The little girl halted sadly beneath the slanting rafters to look round.
When she finally turned away to descend, she had to feel her way carefully, though the morning sun, but lately risen, was pouring in its light.
The farewells in the sitting-room were soon over.
With many a promise to write, with fond pats to the dogs that crowded about her hoping she would take them on her drive, with tender kisses on the pillows of the old canopied bed, and glances behind, she went out into the frosty air and took her seat in the buckboard.
Her face was calm and her eyes were dry as they drove out of the yard.
She was bravely fighting down her grief at leaving, and she looked back again and again to wave her hand to the eldest and the youngest, who were standing outside the kitchen, swinging their hats in tardily repentant and approving response.
At sight of the carnelian bluff, she suddenly sat very still, and a pang shot through her heart.
Looking down at the well-worn, weed-bordered road, she remembered the November morning when, with even deeper sorrow, she walked behind her who was never to pass through the corn again.
Opposite the bluff the biggest brother stopped the buckboard and the little girl stepped down, crossed the half-thawed drifts that still lay on the western slope, and went up to the graves.
A brisk wind was blowing over the plains and shaking the scent from the first wild prairie-violets that dotted the new grass.
She paused but a moment at the pipestone cross, but beside the other grave she knelt and looked long and lovingly at the white headboard.
The chaplain had put it up the day after the funeral, and had lettered on it in black: MOTHER
"Blessed are the pure in heart."
A few minutes later she joined the biggest brother, and the buckboard hurried on.
She did not look around at the house or bluff until the highest point between the track and the farm was reached.
Then, as if he read her wish, the biggest brother again drew rein.
She stood up to look back.
She could see the herd, peacefully trailing across the river meadows in search of green feeding.
Beyond lay the awakening fields under the cold sun, the bluff, the house shining in a new coat of red, the board barn towering over the low sod one at its back.
And she caught a glimpse of the two dark figures still standing against the kitchen, watching her out of sight.
She did not see a third, whose pale eyes were so dim that he in turn could not see her as he loitered mournfully by the side of a stack.
"Good-by," she said softly; "good-by."
A sob came from her biggest brother.
She sank to the seat and, putting her arms about his neck, clung to him, weeping aloud.
As they drove on, he manfully strove to restrain his grief.
When he turned east at the railroad, he drew his sleeve across his eyes and clucked to the horse.
"It'd be a lot worse if you had to stay," he said.
"There's everything before you where you're goin', if you want to work for it.
Here there's nothing."
The little girl lifted her head from his shoulder with fresh courage.
"I know it," she said.
She gave him a grateful smile, and turned to look back once more.
Suddenly a cry parted her lips.
She pointed off beyond the farm-house.
"See!"
she exclaimed, and the biggest brother brought the horse to a stand.
Hanging against the sky was a spectral city whose buildings, inverted and magnified, loomed through the clear, crisp air in marble-like grandeur, and whose spires, keen-tipped and transparent, were thrust far down toward the earth.
Breathlessly the little girl watched the mirage, which to her seemed divine, as if He who sat at sunset upon the throne of clouds were showing her the longed-for city of her dreams in a celestial image, high and white and beautiful.
Joy shone on her face at the wonderful thought;
and into her eyes there came a light of comprehension, of determination, and of enduring hope,--it was the radiant light of womanhood.
And the biggest brother, looking proudly at her, knew at that moment that she was no longer a little girl.
* * * * * Transcriber's Notes: Obvious punctuation errors repaired.
Page 44, "bulk" changed to "bull" (great white bull) Page 165, "disapprovel" changed to "disapproval" (disapproval at every tug) Both Vermillion and Vermilion were used and retained in this text.
End of Project Gutenberg's The Biography of a Prairie Girl, by Eleanor Gates *** END OF THE PROJECT GUTENBERG EBOOK THE BIOGRAPHY OF A PRAIRIE GIRL *** Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U. S.
copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!
) can copy and distribute it in the United States without permission and without paying copyright royalties.
Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark.
Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark.
If you do not charge anything for copies of this eBook, complying with the trademark license is very easy.
You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U. S.
copyright law.
Redistribution is subject to the trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG™ LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.
gutenberg.
org/license.
Section 1.
General Terms of Use and Redistributing Project Gutenberg electronic works 1. A.
By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement.
If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1. E.
8. 1. B.
“Project Gutenberg” is a registered trademark.
It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement.
See paragraph 1. C below.
There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works.
See paragraph 1. E below.
1. C.
The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works.
Nearly all the individual works in the collection are in the public domain in the United States.
If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed.
Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work.
You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.
1. D.
The copyright laws of the place where you are located also govern what you can do with this work.
Copyright laws in most countries are in a constant state of change.
If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work.
The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1. E.
Unless you have removed all references to Project Gutenberg: 1. E.
1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever.
You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.
gutenberg.
org.
If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
1. E.
2. If an individual Project Gutenberg electronic work is derived from texts not protected by U. S.
copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1. E.
1 through 1. E.
7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1. E.
8 or 1. E.
9. 1. E.
3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1. E.
1 through 1. E.
7 and any additional terms imposed by the copyright holder.
Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.
1. E.
4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.
1. E.
5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1. E.
1 with active links or immediate access to the full terms of the Project Gutenberg License.
1. E.
6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form.
However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.
gutenberg.
org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form.
Any alternate format must include the full Project Gutenberg License as specified in paragraph 1. E.
1. 1. E.
7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1. E.
8 or 1. E.
9. 1. E.
8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes.
The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation.
Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns.
Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.
” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License.
You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1. F.
3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.
1. E.
9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark.
Contact the Foundation as set forth in Section 3 below.
1. F.
1. F.
1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U. S.
copyright law in creating the Project Gutenberg™ collection.
Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1. F.
2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1. F.
3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees.
YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.
F.
3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1. F.
3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from.
If you received the work on a physical medium, you must return the medium with your written explanation.
The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund.
If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund.
If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1. F.
4. Except for the limited right of replacement or refund set forth in paragraph 1. F.
3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1. F.
5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law.
The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1. F.
6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.
Section 2.
Information about the Mission of Project Gutenberg Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come.
In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.
gutenberg.
org.
Section 3.
Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service.
The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.
S.
federal laws and your state’s laws.
The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.
gutenberg.
org/contact Section 4.
Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment.
Many small donations ( to ,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States.
Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements.
We do not solicit donations in locations where we have not received written confirmation of compliance.
To SEND DONATIONS or determine the status of compliance for any particular state visit www.
gutenberg.
org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
們使瀏覽 (Local Storage) 來住您主題好、體大小、以後播目進度字本
We use browser Local Storage to remember your theme preferences, font sizes, and last played track progress, as well as vocabulary lists.
請用QR Code,即無縫接軌目入聽進度
自動分析當前章節英文文本,依據考試與難度標籤篩選重點生字,可一鍵批次匯入生字本。
請確認或修改檔案儲存名稱: