A Tale of Two Cities - 05

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“Do you make a show of Monsieur Manette?”

“I show him, in the way you have seen, to a chosen few.”

“Is that well?”

I think it is well.”

“Who are the few? How do you choose them?”

“I choose them as real men, of my name—Jacques is my name—to whom the sight is likely to do good. Enough; you are English; that is another thing. Stay there, if you please, a little moment.”

With an admonitory gesture to keep them back, he stooped, and looked in through the crevice in the wall. Soon raising his head again, he struck twice or thrice upon the door—evidently with no other object than to make a noise there. With the same intention, he drew the key across it, three or four times, before he put it clumsily into the lock, and turned it as heavily as he could.

The door slowly opened inward under his hand, and he looked into the room and said something. A faint voice answered something. Little more than a single syllable could have been spoken on either side.

He looked back over his shoulder, and beckoned them to enter. Mr. Lorry got his arm securely round the daughter's waist, and held her; for he felt that she was sinking.

“A-a-a-business, business!” he urged, with a moisture that was not of business shining on his cheek. “Come in, come in!”

“I am afraid of it,” she answered, shuddering.

“Of it? What?”

“I mean of him. Of my father.”

Rendered in a manner desperate, by her state and by the beckoning of their conductor, he drew over his neck the arm that shook upon his shoulder, lifted her a little, and hurried her into the room. He sat her down just within the door, and held her, clinging to him.

Defarge drew out the key, closed the door, locked it on the inside, took out the key again, and held it in his hand. All this he did, methodically, and with as loud and harsh an accompaniment of noise as he could make. Finally, he walked across the room with a measured tread to where the window was. He stopped there, and faced round.

The garret, built to be a depository for firewood and the like, was dim and dark: for, the window of dormer shape, was in truth a door in the roof, with a little crane over it for the hoisting up of stores from the street: unglazed, and closing up the middle in two pieces, like any other door of French construction. To exclude the cold, one half of this door was fast closed, and the other was opened but a very little way. Such a scanty portion of light was admitted through these means, that it was difficult, on first coming in, to see anything; and long habit alone could have slowly formed in any one, the ability to do any work requiring nicety in such obscurity. Yet, work of that kind was being done in the garret; for, with his back towards the door, and his face towards the window where the keeper of the wine-shop stood looking at him, a white-haired man sat on a low bench, stooping forward and very busy, making shoes.


VI. The Shoemaker

Good day!” said Monsieur Defarge, looking down at the white head that bent low over the shoemaking.

It was raised for a moment, and a very faint voice responded to the salutation, as if it were at a distance:

“Good day!”

“You are still hard at work, I see?”

After a long silence, the head was lifted for another moment, and the voice replied, “Yes—I am working.” This time, a pair of haggard eyes had looked at the questioner, before the face had dropped again.

The faintness of the voice was pitiable and dreadful. It was not the faintness of physical weakness, though confinement and hard fare no doubt had their part in it. Its deplorable peculiarity was, that it was the faintness of solitude and disuse. It was like the last feeble echo of a sound made long and long ago. So entirely had it lost the life and resonance of the human voice, that it affected the senses like a once beautiful colour faded away into a poor weak stain. So sunken and suppressed it was, that it was like a voice underground. So expressive it was, of a hopeless and lost creature, that a famished traveller, wearied out by lonely wandering in a wilderness, would have remembered home and friends in such a tone before lying down to die.

Some minutes of silent work had passed: and the haggard eyes had looked up again: not with any interest or curiosity, but with a dull mechanical perception, beforehand, that the spot where the only visitor they were aware of had stood, was not yet empty.

“I want,” said Defarge, who had not removed his gaze from the shoemaker, “to let in a little more light here. You can bear a little more?”

The shoemaker stopped his work; looked with a vacant air of listening, at the floor on one side of him; then similarly, at the floor on the other side of him; then, upward at the speaker.

“What did you say?”

“You can bear a little more light?”

“I must bear it, if you let it in.” (Laying the palest shadow of a stress upon the second word.)

The opened half-door was opened a little further, and secured at that angle for the time. A broad ray of light fell into the garret, and showed the workman with an unfinished shoe upon his lap, pausing in his labour. His few common tools and various scraps of leather were at his feet and on his bench. He had a white beard, raggedly cut, but not very long, a hollow face, and exceedingly bright eyes. The hollowness and thinness of his face would have caused them to look large, under his yet dark eyebrows and his confused white hair, though they had been really otherwise; but, they were naturally large, and looked unnaturally so. His yellow rags of shirt lay open at the throat, and showed his body to be withered and worn. He, and his old canvas frock, and his loose stockings, and all his poor tatters of clothes, had, in a long seclusion from direct light and air, faded down to such a dull uniformity of parchment-yellow, that it would have been hard to say which was which.

He had put up a hand between his eyes and the light, and the very bones of it seemed transparent. So he sat, with a steadfastly vacant gaze, pausing in his work. He never looked at the figure before him, without first looking down on this side of himself, then on that, as if he had lost the habit of associating place with sound; he never spoke, without first wandering in this manner, and forgetting to speak.

“Are you going to finish that pair of shoes to-day?” asked Defarge, motioning to Mr. Lorry to come forward.     

“What did you say?”

“Do you mean to finish that pair of shoes to-day?”

“I can't say that I mean to. I suppose so. I don't know.”

But, the question reminded him of his work, and he bent over it again.

Mr. Lorry came silently forward, leaving the daughter by the door. When he had stood, for a minute or two, by the side of Defarge, the shoemaker looked up. He showed no surprise at seeing another figure, but the unsteady fingers of one of his hands strayed to his lips as he looked at it (his lips and his nails were of the same pale lead-colour), and then the hand dropped to his work, and he once more bent over the shoe. The look and the action had occupied but an instant.

“You have a visitor, you see,” said Monsieur Defarge.

“What did you say?”

“Here is a visitor.”

The shoemaker looked up as before, but without removing a hand from his work.

“Come!” said Defarge. “Here is monsieur, who knows a well-made shoe when he sees one. Show him that shoe you are working at. Take it, monsieur.”

Mr. Lorry took it in his hand.

“Tell monsieur what kind of shoe it is, and the maker's name.”

There was a longer pause than usual, before the shoemaker replied:

“I forget what it was you asked me. What did you say?”

“I said, couldn't you describe the kind of shoe, for monsieur's information?”

“It is a lady's shoe. It is a young lady's walking-shoe. It is in the present mode. I never saw the mode. I have had a pattern in my hand.” He glanced at the shoe with some little passing touch of pride.

“And the maker's name?” said Defarge.

Now that he had no work to hold, he laid the knuckles of the right hand in the hollow of the left, and then the knuckles of the left hand in the hollow of the right, and then passed a hand across his bearded chin, and so on in regular changes, without a moment's intermission. The task of recalling him from the vagrancy into which he always sank when he had spoken, was like recalling some very weak person from a swoon, or endeavouring, in the hope of some disclosure, to stay the spirit of a fast-dying man.

“Did you ask me for my name?”

“Assuredly I did.”

“One Hundred and Five, North Tower.”

“Is that all?”

“One Hundred and Five, North Tower.”

With a weary sound that was not a sigh, nor a groan, he bent to work again, until the silence was again broken.

“You are not a shoemaker by trade?” said Mr. Lorry, looking steadfastly at him.

His haggard eyes turned to Defarge as if he would have transferred the question to him: but as no help came from that quarter, they turned back on the questioner when they had sought the ground.

“I am not a shoemaker by trade? No, I was not a shoemaker by trade. I-I learnt it here. I taught myself. I asked leave to—”

He lapsed away, even for minutes, ringing those measured changes on his hands the whole time. His eyes came slowly back, at last, to the face from which they had wandered; when they rested on it, he started, and resumed, in the manner of a sleeper that moment awake, reverting to a subject of last night.

“I asked leave to teach myself, and I got it with much difficulty after a long while, and I have made shoes ever since.”

As he held out his hand for the shoe that had been taken from him, Mr. Lorry said, still looking steadfastly in his face:

“Monsieur Manette, do you remember nothing of me?”

The shoe dropped to the ground, and he sat looking fixedly at the questioner.

“Monsieur Manette”; Mr. Lorry laid his hand upon Defarge's arm; “do you remember nothing of this man? Look at him. Look at me. Is there no old banker, no old business, no old servant, no old time, rising in your mind, Monsieur Manette?”

As the captive of many years sat looking fixedly, by turns, at Mr. Lorry and at Defarge, some long obliterated marks of an actively intent intelligence in the middle of the forehead, gradually forced themselves through the black mist that had fallen on him. They were overclouded again, they were fainter, they were gone; but they had been there. And so exactly was the expression repeated on the fair young face of her who had crept along the wall to a point where she could see him, and where she now stood looking at him, with hands which at first had been only raised in frightened compassion, if not even to keep him off and shut out the sight of him, but which were now extending towards him, trembling with eagerness to lay the spectral face upon her warm young breast, and love it back to life and hope—so exactly was the expression repeated (though in stronger characters) on her fair young face, that it looked as though it had passed like a moving light, from him to her.

Darkness had fallen on him in its place. He looked at the two, less and less attentively, and his eyes in gloomy abstraction sought the ground and looked about him in the old way. Finally, with a deep long sigh, he took the shoe up, and resumed his work.

“Have you recognised him, monsieur?” asked Defarge in a whisper.

“Yes; for a moment. At first I thought it quite hopeless, but I have unquestionably seen, for a single moment, the face that I once knew so well. Hush! Let us draw further back. Hush!”

She had moved from the wall of the garret, very near to the bench on which he sat. There was something awful in his unconsciousness of the figure that could have put out its hand and touched him as he stooped over his labour.

Not a word was spoken, not a sound was made. She stood, like a spirit, beside him, and he bent over his work.

It happened, at length, that he had occasion to change the instrument in his hand, for his shoemaker's knife. It lay on that side of him which was not the side on which she stood. He had taken it up, and was stooping to work again, when his eyes caught the skirt of her dress. He raised them, and saw her face. The two spectators started forward, but she stayed them with a motion of her hand. She had no fear of his striking at her with the knife, though they had.

He stared at her with a fearful look, and after a while his lips began to form some words, though no sound proceeded from them. By degrees, in the pauses of his quick and laboured breathing, he was heard to say:

“What is this?”

With the tears streaming down her face, she put her two hands to her lips, and kissed them to him; then clasped them on her breast, as if she laid his ruined head there.

“You are not the gaoler's daughter?”

She sighed “No.”

“Who are you?”

Not yet trusting the tones of her voice, she sat down on the bench beside him. He recoiled, but she laid her hand upon his arm. A strange thrill struck him when she did so, and visibly passed over his frame; he laid the knife down softly, as he sat staring at her.

Her golden hair, which she wore in long curls, had been hurriedly pushed aside, and fell down over her neck. Advancing his hand by little and little, he took it up and looked at it. In the midst of the action he went astray, and, with another deep sigh, fell to work at his shoemaking.

But not for long. Releasing his arm, she laid her hand upon his shoulder. After looking doubtfully at it, two or three times, as if to be sure that it was really there, he laid down his work, put his hand to his neck, and took off a blackened string with a scrap of folded rag attached to it. He opened this, carefully, on his knee, and it contained a very little quantity of hair: not more than one or two long golden hairs, which he had, in some old day, wound off upon his finger.

He took her hair into his hand again, and looked closely at it. “It is the same. How can it be! When was it! How was it!”

As the concentrated expression returned to his forehead, he seemed to become conscious that it was in hers too. He turned her full to the light, and looked at her.

“She had laid her head upon my shoulder, that night when I was summoned out—she had a fear of my going, though I had none—and when I was brought to the North Tower they found these upon my sleeve. 'You will leave me them? They can never help me to escape in the body, though they may in the spirit.' Those were the words I said. I remember them very well.”

He formed this speech with his lips many times before he could utter it. But when he did find spoken words for it, they came to him coherently, though slowly.

“How was this?—Was it you?”

Once more, the two spectators started, as he turned upon her with a frightful suddenness. But she sat perfectly still in his grasp, and only said, in a low voice, “I entreat you, good gentlemen, do not come near us, do not speak, do not move!”

“Hark!” he exclaimed. “Whose voice was that?”

His hands released her as he uttered this cry, and went up to his white hair, which they tore in a frenzy. It died out, as everything but his shoemaking did die out of him, and he refolded his little packet and tried to secure it in his breast; but he still looked at her, and gloomily shook his head.

“No, no, no; you are too young, too blooming. It can't be. See what the prisoner is. These are not the hands she knew, this is not the face she knew, this is not a voice she ever heard. No, no. She was—and He was—before the slow years of the North Tower—ages ago. What is your name, my gentle angel?”

Hailing his softened tone and manner, his daughter fell upon her knees before him, with her appealing hands upon his breast.

“O, sir, at another time you shall know my name, and who my mother was, and who my father, and how I never knew their hard, hard history. But I cannot tell you at this time, and I cannot tell you here. All that I may tell you, here and now, is, that I pray to you to touch me and to bless me. Kiss me, kiss me! O my dear, my dear!”

His cold white head mingled with her radiant hair, which warmed and lighted it as though it were the light of Freedom shining on him.

“If you hear in my voice—I don't know that it is so, but I hope it is—if you hear in my voice any resemblance to a voice that once was sweet music in your ears, weep for it, weep for it! If you touch, in touching my hair, anything that recalls a beloved head that lay on your breast when you were young and free, weep for it, weep for it! If, when I hint to you of a Home that is before us, where I will be true to you with all my duty and with all my faithful service, I bring back the remembrance of a Home long desolate, while your poor heart pined away, weep for it, weep for it!”

She held him closer round the neck, and rocked him on her breast like a child.

“If, when I tell you, dearest dear, that your agony is over, and that I have come here to take you from it, and that we go to England to be at peace and at rest, I cause you to think of your useful life laid waste, and of our native France so wicked to you, weep for it, weep for it! And if, when I shall tell you of my name, and of my father who is living, and of my mother who is dead, you learn that I have to kneel to my honoured father, and implore his pardon for having never for his sake striven all day and lain awake and wept all night, because the love of my poor mother hid his torture from me, weep for it, weep for it! Weep for her, then, and for me! Good gentlemen, thank God! I feel his sacred tears upon my face, and his sobs strike against my heart. O, see! Thank God for us, thank God!”

He had sunk in her arms, and his face dropped on her breast: a sight so touching, yet so terrible in the tremendous wrong and suffering which had gone before it, that the two beholders covered their faces.

When the quiet of the garret had been long undisturbed, and his heaving breast and shaken form had long yielded to the calm that must follow all storms—emblem to humanity, of the rest and silence into which the storm called Life must hush at last—they came forward to raise the father and daughter from the ground. He had gradually dropped to the floor, and lay there in a lethargy, worn out. She had nestled down with him, that his head might lie upon her arm; and her hair drooping over him curtained him from the light.

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Çirattagı - A Tale of Two Cities - 06
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    71.7 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    79.5 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 19
    Süzlärneñ gomumi sanı 3302
    Unikal süzlärneñ gomumi sanı 948
    58.6 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    76.3 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    84.3 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 20
    Süzlärneñ gomumi sanı 3121
    Unikal süzlärneñ gomumi sanı 992
    57.2 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    75.6 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    83.0 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 21
    Süzlärneñ gomumi sanı 3250
    Unikal süzlärneñ gomumi sanı 884
    65.9 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    81.3 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    88.1 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 22
    Süzlärneñ gomumi sanı 3418
    Unikal süzlärneñ gomumi sanı 966
    62.5 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    80.3 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    88.8 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 23
    Süzlärneñ gomumi sanı 3253
    Unikal süzlärneñ gomumi sanı 871
    63.7 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    81.1 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    87.8 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 24
    Süzlärneñ gomumi sanı 3290
    Unikal süzlärneñ gomumi sanı 1076
    56.4 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    73.4 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    81.1 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 25
    Süzlärneñ gomumi sanı 3264
    Unikal süzlärneñ gomumi sanı 1042
    52.1 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    68.9 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    78.0 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 26
    Süzlärneñ gomumi sanı 3314
    Unikal süzlärneñ gomumi sanı 1126
    50.5 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    69.1 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    78.0 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 27
    Süzlärneñ gomumi sanı 3330
    Unikal süzlärneñ gomumi sanı 972
    59.5 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    75.1 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    81.4 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 28
    Süzlärneñ gomumi sanı 2890
    Unikal süzlärneñ gomumi sanı 932
    57.8 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    73.6 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    79.9 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 29
    Süzlärneñ gomumi sanı 3046
    Unikal süzlärneñ gomumi sanı 994
    58.0 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    76.0 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    82.6 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 30
    Süzlärneñ gomumi sanı 2956
    Unikal süzlärneñ gomumi sanı 897
    61.3 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    78.1 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    85.5 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 31
    Süzlärneñ gomumi sanı 3282
    Unikal süzlärneñ gomumi sanı 1065
    58.4 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    74.8 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    81.8 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 32
    Süzlärneñ gomumi sanı 3044
    Unikal süzlärneñ gomumi sanı 1013
    59.4 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    73.6 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    81.3 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 33
    Süzlärneñ gomumi sanı 2932
    Unikal süzlärneñ gomumi sanı 958
    61.2 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    76.3 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    82.8 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 34
    Süzlärneñ gomumi sanı 2939
    Unikal süzlärneñ gomumi sanı 869
    63.0 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    77.7 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    85.2 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 35
    Süzlärneñ gomumi sanı 3040
    Unikal süzlärneñ gomumi sanı 901
    60.5 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    75.5 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    82.0 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 36
    Süzlärneñ gomumi sanı 2964
    Unikal süzlärneñ gomumi sanı 939
    59.3 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    74.6 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    82.8 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 37
    Süzlärneñ gomumi sanı 3342
    Unikal süzlärneñ gomumi sanı 942
    61.5 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    76.8 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    84.3 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 38
    Süzlärneñ gomumi sanı 3238
    Unikal süzlärneñ gomumi sanı 961
    62.6 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    78.5 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    85.0 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 39
    Süzlärneñ gomumi sanı 2971
    Unikal süzlärneñ gomumi sanı 851
    66.7 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    82.5 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    88.0 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 40
    Süzlärneñ gomumi sanı 3124
    Unikal süzlärneñ gomumi sanı 912
    62.6 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    78.9 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    86.1 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 41
    Süzlärneñ gomumi sanı 2808
    Unikal süzlärneñ gomumi sanı 884
    63.5 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    78.4 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    83.9 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 42
    Süzlärneñ gomumi sanı 3073
    Unikal süzlärneñ gomumi sanı 933
    61.9 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    77.3 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    84.6 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 43
    Süzlärneñ gomumi sanı 3040
    Unikal süzlärneñ gomumi sanı 937
    60.4 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    76.5 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    83.5 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.
  • A Tale of Two Cities - 44
    Süzlärneñ gomumi sanı 146
    Unikal süzlärneñ gomumi sanı 81
    86.3 süzlär 2000 iñ yış oçrıy torgan süzlärgä kerä.
    92.3 süzlär 5000 iñ yış oçrıy torgan süzlärgä kerä.
    94.7 süzlär 8000 iñ yış oçrıy torgan süzlärgä kerä.
    Härber sızık iñ yış oçrıy torgan 1000 süzlärneñ protsentnı kürsätä.