87．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?

　　88．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!

　　89． 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.

　　90． 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.

　　译文

　　87．但是难道这不是关键问题的挑战和刺激而就其本身而言是存在于矛盾的态度里面。这样的态度让我们认识到Meredith’s作品中智慧和卓越，然而与此同时，我们有了缺乏同情和不能有任何热情反应的经历。

　　88．在这方面，她很像所喜欢的同时代人中的一位Mary Brunton一样被回避着，和许多女性作家更多的来掩饰其性别憎恶，和其它方面，Mary是宁愿在无名的世界中悄然而去，也不愿被怀疑是在卖弄文艺。

　　89．我们在小场合或是粗鲁的场合听到的声音，不容易有强烈的印象或是令人愉悦的形象。对于那些生词，无论什么时候出现，我们要把注意力放到传达意义上。

　　90．为了继续进行，要创立一种5重假设，使你能够从经验的海洋中搜集到无尽的细节，然后抛到观察的海岸上，只有有限的相关数据，也就是说，在假设中的五个因素里面有一个或多个。