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 (就职) , 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.

　　1．两种小说家都使用一种讲故事的方法，来强调同一事件不同角度的讽刺差别和浅显戏剧与隐藏的权威倾向的讽刺联系，我称之为明显的叙述技巧。
　　2．如果把黑人诗人当作一个群体来讨论的话，比如说，他们的作品反应的诗歌发展历史的程度不该被忘记，可能会产生文学历史的一些改变。
　　3．这些不同包括了下一代人大胆直率的言辞和他们的技术发明性。
　　4．但是黑人诗人并不争论关于第的问题，一个有成就的黑人诗人总欢迎新人，不管他们的风格怎样，因为真正重要的是种族自豪。
　　5．托尔斯泰****了所有预想，每一次他都抛弃了“系统”和“机械”的东西，外部规定的信念，情绪冲动的生活和非系统的传统行为，内部激励和独立思考的解决方案。
　　6．这种冷谈正如对黑人的敌意一样是个大问题，而电视和报纸对肯尼迪总统就职典礼的报道胜过对其它事件的报道，是一个意外的收获。
　　7．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。
　　8．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。
　　9．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。
　　10．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。