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As soon as Picasso heard the news, he was inspired into a frenzy of energy and creativity and,
当毕加索听到格尔尼卡被炸的消息时，一股强烈的能量和创造力被激发出来，
in less than six weeks, he managed to cover an enormous canvas measuring about 30 square meters.
在不到六周的时间里，他就成功完成了一幅约30平方米的巨幅油画。
Picasso wasn't just commemorating one catastrophe, but a whole century of suffering.
毕加索并不只是在纪念一场灾难，而是这整个世纪所遭受的苦难。
And the way that Picasso did this was by creating a massive jumble of injured and dismembered limbs,
毕加索的方式就是创作了一大堆受伤和被肢解的肢体，
as if the bombs had just been dropped from the air and just gone off in front of us.
就像炸弹刚刚从天而降，在我们面前爆炸了一样。
If you look at the light bulb with its jagged flare at the top, it feels like an explosion going off just as we're looking.
画作的顶部，这个带有锯齿状光圈的灯泡，就像炸弹在我们眼前爆炸一样。
And here to the left is such a pitiful picture of a woman carrying the body of her dead child.
左边这张照片非常可怜，一个女人抱着她死去的孩子的尸体。
The way that Picasso painted her face is most affecting, because it is almost like, in her deepest sorrow, her entire identity is dissolving before our eyes.
毕加索画她脸的方式非常感人，就仿佛在她最深处的悲痛中，她整个人的特征在我们眼前消解了一样。
And her nostrils and her eyes seem to be dripping right off her head.
她的鼻孔和眼睛似乎要从头上坠下来。
This soft, soft feel of her flesh leads up to that terrifying image of her mouth with that piercing tongue
那种软软的，软软的肉体的感觉使我们看到那可怕的景象：她的嘴，还有尖尖的舌头，
as if you could almost hear the sharp sound of a mother's total, in the moment grief at the loss of her dear child.
好像你几乎可以听到母亲在失去心爱的孩子那一刻所发出的尖利而悲伤的声音。
The painting is a perpetual reminder of the destruction of war on innocent lives.
这幅画永远提醒人们战争对无辜生命的残害。
