1. Both novelists use a storytelling method that emphasizes ironic disjunctions between different perspectives on the same events as well as ironic tensions that inhere in the relationship between surface drama and concealed authorical intention, a method I call an evidentiary narrative technique.

　　2. When black poets are discussed separately as a group, for instance, the extent to which their work reflects the development of poetry in general should not be forgotten, or a distortion of literacy history may result.

　　3. These differences include the bolder and more forthright speech of the later generation and its technical inventiveness.

　　4. But black poets were not battling over old or new rather, one accomplished Black poet was ready to welcome another, whatever his or her style, for what mattered was racial pride.

　　5. Tolstoy reversed all preconceptions and in every reversal he overthrew the “ system”, the “ machine”, the externally ordained belief, the conventional behaviour in favor of unsystematic, impulsive life, of inward motivation and the solutions of independent thought.

　　6. It was better covered by television and press than any event here since President Kennedy’s inauguration (就職) , and , since indifferent is almost as great a problem to the Negro as hostility, this was a plus.

　　7. But do not the challenge and the excitement of the critical problem as such lie in that ambivalence of attitude which allows us to recognize the intelligence and even the splendor of Meredith’s work, while, at the same time, we experience a lack of sympathy, a failure of any enthusiasm of response?

　　8. In this respect she resembled one of her favourite contemporaries, Mary Brunton, who would rather have “ glided through the world unknown” than been suspected of literary airs—to be shunned, as literary women are, by the more pretending of their own sex, and abhorred, as literary women are, by the more pretending of the other!

　　9. From those sounds which we hear on small or on coarse occasions, we do not easily receive strong impressions, or delightful images; and words to which we are nearly strangers, whenever they occur, draw that attention on themselves which they should transmit to things.

　　10. To proceed thus is to set up a fivefold hypothesis that enables you to gather from the innumerable items cast up by the sea of experience upon the shores of your observation only the limited number of relevant data—relevant, that is, to one or more of the five factors of your hypothesis.

　　1、兩種小說家都使用一種講故事的方法，來強(qiáng)調(diào)同一事件不同角度的諷刺差別和淺顯戲劇與隱藏的權(quán)威傾向的諷刺聯(lián)系，我稱之為明顯的敘述技巧。

　　2、如果把黑人詩人當(dāng)作一個(gè)群體來討論的話，比如說，他們的作品反應(yīng)的詩歌發(fā)展歷史的程度不該被忘記，可能會(huì)產(chǎn)生文學(xué)歷史的一些改變。

　　3、這些不同包括了下一代人大膽直率的言辭和他們的技術(shù)發(fā)明性。

　　4、但是黑人詩人并不爭(zhēng)論關(guān)于第的問題，一個(gè)有成就的黑人詩人總歡迎新人，不管他們的風(fēng)格怎樣，因?yàn)檎嬲�重要的是種族自豪。

　　5、托爾斯泰推翻了所有預(yù)想，每一次他都拋棄了“系統(tǒng)”和“機(jī)械”的東西，外部規(guī)定的信念，情緒沖動(dòng)的生活和非系統(tǒng)的傳統(tǒng)行為，內(nèi)部激勵(lì)和獨(dú)立思考的解決方案。

　　6、這種冷談?wù)�如�?duì)黑人的敵意一樣是個(gè)大問題，而電視和報(bào)紙對(duì)肯尼迪總統(tǒng)就職典禮的報(bào)道勝過對(duì)其它事件的報(bào)道，是一個(gè)意外的收獲。

　　7、但是難道這不是關(guān)鍵問題的挑戰(zhàn)和刺激而就其本身而言是存在于矛盾的態(tài)度里面。這樣的態(tài)度讓我們認(rèn)識(shí)到Meredith’s作品中智慧和卓越，然而與此同時(shí)，我們有了缺乏同情和不能有任何熱情反應(yīng)的經(jīng)歷。

　　8、在這方面，她很像所喜歡的同時(shí)代人中的一位Mary Brunton一樣被回避著，和許多女性作家更多的來掩飾其性別憎惡，和其它方面，Mary是寧愿在無名的世界中悄然而去，也不愿被懷疑是在賣弄文藝。

　　9、我們?cè)谛��?chǎng)合或是粗魯?shù)膱?chǎng)合聽到的聲音，不容易有強(qiáng)烈的印象或是令人愉悅的形象。對(duì)于那些生詞，無論什么時(shí)候出現(xiàn)，我們要把注意力放到傳達(dá)意義上。

　　10、為了繼續(xù)進(jìn)行，要?jiǎng)?chuàng)立一種5重假設(shè)，使你能夠從經(jīng)驗(yàn)的海洋中搜集到無盡的細(xì)節(jié)，然后拋到觀察的海岸上，只有有限的相關(guān)數(shù)據(jù)，也就是說，在假設(shè)中的五個(gè)因素里面有一個(gè)或多個(gè)。