第三版《高级英语(第2册)》课文中英文对照
解，大企业腐蚀败坏了整个社会。新闻事业沦为发财赚钱的工具，政治腐败，官场上充斥着庸才和骗子，而美国人的家庭生活也由于人们一心想着挣钱和与邻里斗富而变得索然无味，刻板单调，充满虚情假意。夫妻生活也缺乏鱼水之乐。本来只需让创造性艺术来指明通向美好生活的道路·以上这些缺憾就会自动消失的。可是，美国举国上下除了亮晶晶响当当的美金之外，对其他的一切都视而不见．充耳不闻。因此，对那些敏感的才俊之士来说，唯一的出路便只有移居欧洲，“那儿的情形要好一些”。《美国的文明》正式出版(1921)之时该书的撰稿人大多数已经接受自己的忠告寄居在国外了，还有许多别的艺术家和预备艺术家也纷纷步其后尘。
10 It was in their defiant, but generally short-lived, European expatriation that our leading writers of the Twenties learned to think of themselves, in the words of Gertrude Stein, as the "lost generation". In no sense a movement in itself, the "lost generation" attitude nevertheless acted as a common denominator of the writing of the times. The war and the cynical power politics of Versailles had convinced these young men and women that spirituality was dead; they felt as stunned as John Andrews, the defeated aesthete In Dos Passos' Three Soldiers, as rootless as Hemingway's wandering alcoholics in The Sun Also Rises. Besides Stein, Dos Passos, and Hemingway, there were Lewis Mumford, Ezra Pound, Sherwood Anderson, Matthew
第三版《高级英语(第2册)》课文中英文对照
Josephson, d. Harold Stearns, T. S. Eliot, E. E. Cumminss, Malcolm Cowley, and many other novelists, dramatists, poets, and critics who tried to find their souls in the Antibes and on the Left Bank, who directed sad and bitter blasts at their native land and who, almost to a man, drifted back within a few years out of sheer homesickness, to take up residence on coastal islands and in New England farmhouses and to produce works ripened by the tempering of an older, more sophisticated society.
正是在他们那抗争性的，而总的说来又是短暂的侨居欧洲期间，二十年代我国的那些主要作家开始认识到自己一一用格特鲁德．斯坦的话说一一就是所谓“迷惘的一代”。“迷惘的一代”本身虽不是一场什么文学运动，但那些“迷惘的一代”的作家的态度却是那个时代文学作品的共同特征。战争以及凡尔赛和约所表现出的犬儒主义的强权政治使这些青年男女们确信·精神世界已经不复存在了。他们就像多斯·帕索斯的《三个士兵》中的那个受挫的唯美主义者约翰·安德鲁斯一样感到茫然不知所措，又像海明威《太阳照样升起》中的流浪醉汉一样感到漂泊无依。除斯坦、多斯．帕索斯和海明威外，还有刘易斯·芒福德、埃兹拉·庞德、舍伍德．安德森、马修·约瑟夫森、J哈罗德斯特恩斯、TS 艾略特、E．E．卡明斯、马尔科姆考利，以及其他许多小说家、戏剧家、诗人和评论家，都曾在法国的昂蒂布和塞纳河左岸地区探索过自己的灵魂，都怀着满腔孤愤对自己的祖国进行过猛烈辛辣的抨击·而目．在几年之后，
第三版《高级英语(第2册)》课文中英文对照
纯粹出于思乡情切，几乎无一例外地又都漂洋过海，回到祖国，定居于沿海小岛上和新英格兰地区的农庄上，来创作他们由于在一个更古老、更复杂的社会里经受磨炼而变得成熟了的作品。
11 For actually the "lost generation" was never lost. It was shocked, uprooted for a time, bitter, critical, rebellious, iconoclastic, experimental, often absurd, more often misdirected- but never "lost." A decade that produced, in addition to the writers listed above, such figures as Eugene O'Neill, Edna St. Vincent Millay, F. Scott Fitzgerald, William Faulkner, Sinclair Lewis, Stephen Vincent Benét, Hart Crane, Thomas Wolfe, and innumerable others could never be written off as sterile ,even by itself in a moment of self-pity. The intellectuals of the Twenties, the "sad young men," as F. Scot Fitzgerald called them, cursed their luck but didn't die; escaped but voluntarily returned; flayed the Babbitts but loved their country, and in so doing gave the nation the liveliest, freshest, most stimulating writing in its literary experience.
实际上，所谓“迷惘的一代”根本不曾迷惘过。在一段时间里，他们曾有过惊愕、孤独无依的感觉，因而变得痛苦、尖刻，以致于反社会、反权威、好标新立异，其行为往往有些荒唐，更常常近于胡闹——但却从来“迷恫过”除上述那些作家外二十年代还产生出了诸如尤金·奥尼尔、埃德娜·St．文