1、Unit 10,The Sad Young Men by Rod W. Horton she encouraged and purchased the work of many new painters, including Picasso and Matisse. During the 1920s she was the leader of a cultural salon, which included such writers as Hemingway, Sherwood Anderson, F. Scott Fitzgerald, all of whose works she infl

2、uenced. It was she who first coined the phrase lost generation for those post world war I expatriates.,During World War she remained in France, and after the warher Paris home became a meeting place for American soldiers. Stein s own innovative writing emphasizes the sounds and rhythms rather than t

3、he sense of words. By departing from conventional meaning, grammar, and syntax, she attempted to capture moments of consciousness, in-dependent of time and memory. Some of her best known works are: Three Lives(1909), The Making of Americans (1925), Autobiography of Alice 13. Toklas (1933) (her own a

4、utobiography presented as that of her secretary companion).,Ernest Hemingway (1899-1961),American novelist and short story writer, one of the greatest American writers of the 20th century. Hemingways fiction usually focuses on people living essential, dangerous lives - soldiers, fisher- men, athlete

5、s, bullfighters - who meet the pain and difficulty of their existence with stoic courage. His celebrated literary style, influenced by Ezra Pound and Gertrude Stein, is direct, terse and often monotonous, yet particularly suited to his elemental subject matter.,During World War I he served as an amb

6、ulance driver in France and in the Italian infantry and was wounded just before his 19th birthday. Later, while working in Paris as correspondent for the Toronto Star, he became involved with the expatriate circle surrounding Gertrude Stein. With the publication of The Sun Also Rises (1926), he was

7、recognized as the spokesman of the lost generation (so-called by Gertrude Stein). The novel concerns a group of psychologically bruised, disillusioned expatriates living in post-war Paris, who take psychic refuge in such immediate physical activities as eating, drinking, travelling, brawling and lov

8、emaking.,During the Spanish Civil War, Hemingway served as a correspondent on the loyalist side from this experience came his great novel For Whom the Bell Tolls (1940), which, in detailing an incident in the war, argues for human brotherhood. Hemingway fought in World War and then settled in Cuba i

9、n 1945. His novelette The Old Man and the Sea (1952) celebrates the indomitable courage of an aged Cuban fisherman.,In 1954, Hemingway was awarded the Nobel Prize in literature. After his expulsion from Cuba by the Castro regime, he moved to Idaho. He was increasingly plagued by ill health and dimin

10、ishing mental faculties, and in July, 1961, he committed suicide by shooting himself. Some of his other well-known works are: A Farewell to Arms (1929), Death in the Afternoon (1932), and such volumes of short stories as Men without Women (1927),Win- her Take Nothing (1933) and the First Forty-nine

11、Stories (1938).,II. Introduction to the Passage,3. The Twenties: - A period in American history - World War I (1914-1918) - Economic development - Attitudes of the young people,Introduction to the Passage,4. The theme: “ The intellectuals of the twenties, the sad young men, cursed their luck but did

12、nt 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 literary experience.”,二十年代的知識分子，也就是F司各特菲茨杰拉德所稱的“悲哀的青年一代”，詛咒過自己的命運，但并沒有消亡；他們曾試圖逃避現(xiàn)實，但又自動回到現(xiàn)實中來；他們痛責(zé)美國社會的市儈，但對自己的祖國卻又充滿熱愛。正是在這樣的過程

13、中，他們創(chuàng)作出了美國文學(xué)史上最富有生氣、最令人耳目一新、最激動人心的文學(xué)作品。,II. Introduction to the Passage,5.Type of literature: a piece of expositive writing,II. Introduction to the Passage,The structural organization of this essay: 3 sections； Section 1- P. 1 introducing the subject The young in the twenties Section 2- P. 2-9 suppo

14、rting and developing the thesis Section 3- P. 10-11 bringing the discussion to an end,Text analysis,1. No aspect of life in the Twenties has been more commented upon and sensationally romanticized than the so-called Revolt of the Younger Generation. 二十年代社會生活的各個方面中，被人們評論得最多、渲染得最厲害的，莫過于青年一代的叛逆之行了。 The

15、 slightest mention of the decade brings nostalgic recollections to the middle-aged and curious questionings by the young: memories of the deliciously illicit thrill of the first visit to a speakeasy（地下酒吧）, of the brave denunciation of Puritan morality, and of the fashionable experimentations in amou

16、r（mu戀情） in the parked sedan on a country road;,questions about the naughty, jazzy parties, the flask-toting “sheik,” and the moral and stylistic vagaries （異常行為）of the “flapper”（ 美俚輕佻女郎）and the drug-store cowboy. Were young people really so wild? present-day students ask their parents and teachers. 青

17、年人則會問起有關(guān)那時的一些縱情狂歡的爵士舞會，問起那成天背著酒葫蘆、勾引得女人團團轉(zhuǎn)的“美男子”，問起那些“時髦少女”和“閑蕩牛仔”的奇裝異服和古怪行為等等的情況。“那時的青年果真這樣狂放不羈嗎?”今天的青年學(xué)生們不禁好奇地向他們的師長問起這樣的問題,“Were young people really so wild?” present-day students ask their parents and teachers. “Was there really a Younger Generation problem?” The answers to such inquiries must o

18、f necessity be “yes” and “no”-“Yes” because the business of growing up is always accompanied by a Younger Generation Problem; “no” because what seemed so wild, irresponsible, and immoral in social behavior at the time can now be seen in perspective as being something considerably less sensational（聳人

19、聽聞的）than the degenerauon（惡化）of our jazzmad youth. “不對”是因為在當(dāng)時的社會看來似乎是那么狂野。那么不負責(zé)任，那么不講道德的行為，若是用今天的正確眼光去看的話，卻遠遠沒有今天的一些迷戀爵士樂的狂蕩青年的墮落行為那么聳人聽聞。,2. Actually, the revolt of the young people was a logical outcome of conditions in the age: First of all, it must be remembered that the rebellion was not confine

20、d to the United States, but affected the entire Western world as a result of the aftermath （后果）of the first serious war in a century. Second, in the United States it was reluctantly realized by some- subconsciously if not openly - that our country was no longer isolated in either politics or traditi

21、on and that we had reached an international stature that would forever prevent us from retreating behind the artificial walls of a provincial morality or the geographical protection of our two bordering oceans. 無論在政治方面還是在傳統(tǒng)方面，我們的國家已不再是與世隔絕的了；我們所取得的國際地位使我們永遠也不能再退縮到狹隘道德規(guī)范的人造圍墻之后，或是躲在相鄰的兩大洋的地理保護之中了。,Ma

22、p of the US,3The rejection of Victorian gentility (dentiliti有教養(yǎng), 文雅)was, in any case, inevitable. The booming of American industry, with its gigantic, roaring factories, its corporate impersonality, and its large scale aggressiveness, no longer left any room for the code of polite behavior and well-

23、bred morality fashioned in a quieter and less competitive age. War or no war, as the generations passed, it became increasingly difficult for our young people to accept standards of behavior that bore no relationship to the bustling business medium in which they were expected to battle for success.

24、不論是否發(fā)生戰(zhàn)爭，隨著時代的變化要我們的年輕一代接受與他們必須在其中拼搏求勝的這個喧囂的商業(yè)化社會格格不入的行為準(zhǔn)則已經(jīng)變得越來越難了。,The war acted merely as a catalytic agent (.ktlitik催化劑)in this breakdown of the Victorian social structure, and by precipitating our young people into a pattern of mass murder it released their inhibited violent energies which, aft

25、er the shooting was over, were turned in both Europe and America to the destruction of an obsolescent (.bslesnt adj. 荒廢的) nineteenth-century society. 戰(zhàn)爭只不過起了一種催化劑的作和用，加速了維多利亞式社會結(jié)構(gòu)的崩潰。戰(zhàn)爭把年輕一代一下子推向一種大規(guī)模的屠殺戰(zhàn)場，從而使他們體內(nèi)潛藏的壓抑已久的狂暴力量得以釋放出來，待到戰(zhàn)爭一結(jié)束，這些被釋放出來的狂暴力量便在歐洲和美國掉轉(zhuǎn)矛頭，去摧毀那日漸衰朽的十九世紀(jì)的社會了。,4Thus in a changi

26、ng world youth was faced with the challenge of bringing our mores (m:ri:z n. 風(fēng)俗, 習(xí)慣, 民德, 道德觀念)up to date. But at the same time it was tempted, in America at least, to escape its responsibilities and retreat behind an air of naughty alcoholic sophistication (s.fistikein n. 詭辯,強詞奪理,混合 ) and a pose of

27、Bohemian immorality. 裝出一副波希米亞式的放蕩不羈的樣子,bohemian,The term bohemian, of French origin, was first used in the English language in the nineteenth century to describe the untraditional lifestyles of marginalized and impoverished artists, writers, musicians, and actors in major European cities. Bohemians

28、were associated with unorthodox (adj. 非傳統(tǒng)的,異端的 ) or antiestablishment political or social viewpoints, which were often expressed through free love, frugality (fru(:)gliti n. 節(jié)儉,儉省), and/or voluntary poverty.,The faddishness , the wild spending of money on transitory pleasures and momentary novelties

29、 (新奇）, the hectic（hektik 興奮的） air of gaiety, the experimentation in sensation - sex, drugs, alcohol, perversions - were all part of the pattern of escape, an escape made possible by a general prosperity and a post-war fatigue（fti:gn. 疲乏,疲勞） with politics, economic restrictions, and international res

30、ponsibilities. 追求時尚，為了短暫的快樂和一時的新奇而大肆揮霍，縱情地狂歡，尋求各種各樣的感官刺激性行為，吸毒，酗酒以及各種各樣的墮落行為這些都是他們逃避責(zé)任的表現(xiàn)形式，是一種由社會的普遍繁榮及戰(zhàn)后人們對于政治、經(jīng)濟限制和國際義務(wù)所產(chǎn)生的厭煩情緒所造成的逃避方式。,Prohibition afforded the young the additional opportunity of making their pleasures illicit , and the much-publicized orgies （n.縱酒狂歡, 放蕩 ） and defiant （difaint

31、挑釁的,目中無人）manifestoes of the intellectuals crowding into Greenwich Village gave them a pattern and a philosophic defense for their escapism. And like most escapist sprees, this one lasted until the money ran out, until the crash of the world economic structure at the end of the decade called the part

32、y to a halt and forced the revelers （ revl n. 擺設(shè)酒宴者, 飲酒狂歡者）to sober up （v. 清醒起來）and face the problems of the new age.,P 5,The rebellion started with World War I. The prolonged stalemate (steilmeit n. 僵持狀態(tài),陷于困境,膠著狀況) of 1915 - 1916, the increasing insolence (inslns n. 傲慢,無禮) of Germany toward the Uni

33、ted States, and our official reluctance to declare our status as a belligerent (bilidrnt adj. 好戰(zhàn)的,交戰(zhàn)的,交戰(zhàn)國的) were intolerable to many of our idealistic citizens, and with typical American adventurousness enhanced somewhat by the strenuous (strenjus adj. 奮發(fā)的,熱心的,有奮斗之必要的) jingoism (digiz()m n. 主戰(zhàn)論, 武力外

34、交政策,沙文主義,侵略主義)of Theodore Roosevelt, our young men began to enlist under foreign flags.,Theodore Roosevelt,(pronounced /rozvlt/;October 27, 1858 January 6, 1919), also known as T.R., and to the public (but never to friends and intimates) as Teddy, was the 26th President of the United States. A leade

35、r of the Republican Party and of the Progressive Party, he was a Governor of New York and a professional historian, naturalist, explorer, hunter, author, and soldier. He is most famous for his personality: his energy, his vast range of interests and achievements, his model of masculinity, and his co

36、wboy image. Originating from a story from one of Roosevelts hunting expeditions, teddy bears are named after him.,Theodore Roosevelt,In the words of Joe Williams, in John Dos Passos U. S. A., they wanted to get into the fun before the whole thing turned belly up. For military service, in 1916- 1917,

37、 was still a romantic occupation. The young men of college age in 1917 knew nothing of modern warfare. The strife (straif n. 爭吵)of 1861 -1865 had popularly become, in motion picture and story, a magnolia ( mgnuli n. 木蘭,玉蘭類的植物)-scented soap opera, while the one hundred-days fracas (frk: 喧噪,吵鬧,紛擾) wit

38、h Spain in 1898 had dissolved into a one-sided victory at Manila and a cinematic charge up San Juan Hill. “是想趁著戰(zhàn)爭還沒結(jié)束就參加到這場游戲中去”,Battle of San Juan Hill,The Battle of San Juan Hill (July 1, 1898) was the bloodiest and most famous battle of the SpanishAmerican War. It was also one of the greatest vic

39、tories for the Rough Riders,Furthermore, there were enough high school assembly orators (rt n. 演說者 ) proclaiming the character-forming force of the strenuous (strenjus adj. 奮發(fā)的,熱心的,有奮斗之必要的) life to convince more than enough otherwise sensible boys that service in the European conflict would be of gr

40、eat personal value, in addition to being idealistic and exciting. Accordingly, they began to join the various armies in increasing numbers, the intellectuals in the ambulance corps, others in the infantry, merchant marine, or wherever else they could find a place.,Those who were reluctant to serve i

41、n a foreign army talked excitedly about Preparedness, occasionally considered joining the National Guard, and rushed to enlist when we finally did enter the conflict. So tremendous was the storming of recruitment centers that harassed (hrst,hrst adj. 疲倦的, 厭煩的 ) sergeants actually pleaded with volunt

42、eers to go home and wait for the draft, but since no self-respecting person wanted to suffer the disgrace of being drafted, the enlistment craze continued unabated ( nbeitid adj. 不衰的,不減弱的). 蒙受“被征召入伍”的恥辱,Naturally, the spirit of carnival (k:nivln. 嘉年華會,狂歡節(jié),飲晏狂歡) and the enthusiasm for high military a

43、dventure were soon dissipated (disipeitid 浪費的) once the eager young men had received a good taste of twentieth- century warfare. To their lasting glory, they fought with distinction, but it was a much altered group of soldiers who returned from the battlefields in 1919. Especially was this true of t

44、he college contingent (kntindnt分遣隊 ), whose idealism had led them to enlist early and who had generally seen a considerable amount of action. To them, it was bitter to return to a home town virtually untouched by the conflict, where citizens still talked with the naive Fourth-of-duly bombast (bmbst

45、n. 夸大的言辭) they themselves had been guilty of two or three years earlier. 對他們來說，回到幾乎沒有受到戰(zhàn)爭的任何影響的故鄉(xiāng)是一件痛苦的事，因為在那里，人們?nèi)栽谙駪c祝獨立日時那樣天真地大唱愛國的高調(diào)，而這是他們自己兩三年前也曾犯過的錯誤。,It was even more bitter to find that their old jobs had been taken by the stay-at-homes, that business was suffering a recession that prevented t

46、he opening up of new jobs, and that veterans (vetrn n. 退伍軍人) were considered problem children and less desirable than non-veterans for whatever business opportunities that did exist. Their very homes were often uncomfortable to them; they had outgrown town and families and had developed a sudden bew

47、ildering world-weariness which neither they nor their relatives could understand. 他們再也不能適應(yīng)家鄉(xiāng)和家庭了，并且萌生出一種突如其來的、迷惘的厭世之感。這種感覺不論是他們自己還是他們的親友都不能理解。,Their energies had been whipped (v. 鞭打,揮動,突然攫取 )up and their naivete (n:i:vtei n. 天真,質(zhì)樸)destroyed by the war and now, in sleepy Gopher Prairies all over the

48、country, they were being asked to curb those energies and resume the pose of self-deceiving Victorian innocence that they now felt to be as outmoded (v. 使不流行) as the notion that their fighting had made the world safe for democracy.“ 戰(zhàn)爭激起了他們的勁頭，打掉了他們的天真幼稚。而現(xiàn)在，在遍布全國的沉睡的、落后的地方，到處都要求他們抑制他們的勁頭，并恢復(fù)那種自欺欺人的

49、、維多利亞式的天真無邪的態(tài)度。但是他們現(xiàn)在覺得這種態(tài)度同那種說什么他們的戰(zhàn)斗已“使民主在這個世界有了保障”的論調(diào)一樣，都是陳舊過時的。,And, as if home town conditions were not enough, the returning veteran also had to face the sodden (sdn adj. 渾身濕透的,不成樣子的,浸過酒的), Napoleonic cynicism of Versailles, the hypocritical do-goodism of Prohibition, and the smug patriotism o

50、f the war profiteers (n. 獲暴利的人,奸商) Something in the tension-ridden youth of America had to give and, after a short period of bitter resentment, it gave in the form of a complete overthrow of genteel standards of behavior. 再者，似乎家鄉(xiāng)的情況還不夠受的，退伍軍人還得面對凡爾賽和約那種愚蠢的、拿破侖式的犬儒主義、禁酒法令那種虛偽的行善主義，以及那些發(fā)了戰(zhàn)爭財?shù)娜藗兊难笱笞缘玫膼?/p>

51、國主義。那些氣鼓鼓的美國青年的不滿遲早要爆發(fā)出來。在經(jīng)過一段短暫的強烈的怨忿之后，它終于以一種徹底推翻溫文爾雅的行為規(guī)范的形式而爆發(fā)出來了。,P 7,Greenwich Village set the pattern. Since the Seventies a dwelling place for artists and writers who settled there because living was cheap, the village had long enjoyed a dubious (dju:bjs adj. 懷疑的,可疑的) reputation for Bohemian

52、ism and eccentricity (eksentrisiti n. 古怪,古怪的行為,怪癖). It had also harbored enough major writers, especially in the decade before World War I, to support its claim to being the intellectual center of the nation.,After the war, it was only natural that hopeful young writers, their minds and pens inflame

53、d (infleim v. 激怒,點火,使.發(fā)炎) against war, Babbittry (市儈作風(fēng) ), and Puritanical gentility , ,should flock to the traditional artistic center (where living was still cheap in 1919) to pour out their new-found creative strength, to tear down the old world, to flout the morality of their grandfathers, and to

54、 give all to art, love, and sensation. 戰(zhàn)后，那些腦子里和筆桿子里都充滿著對戰(zhàn)爭、市儈氣和“清教徒式的”道德修養(yǎng)的仇恨的怒火的年輕有為的作家們便自然而然地云集到這個傳統(tǒng)的藝術(shù)中心(那兒的生活消費在1919年仍很低廉)，去傾瀉他們那新近獲得的創(chuàng)造力，去摧毀舊世界，嘲弄前輩們所信守的道德規(guī)范，把自己的一切獻給藝術(shù)、愛情和感官享受。,Soon they found their imitators among the non-intellectuals. As it became more and more fashionable throughout the c

55、ountry for young persons to defy (藐視,挑釁 ) the law and the conventions and to add their own little matchsticks to the conflagration (.knflgrein n. 大火災(zāi),大火,突發(fā)) of flaming youth, it was Greenwich Village that fanned the flames. Bohemian living became a fad. Each town had its fast set which prided itself

56、 on its unconventionality , although in reality this self-conscious unconventionality was rapidly becoming a standard feature of the country club class - and its less affluent (flunt adj. 富裕的 ) imitators -throughout the nation.,Before long the movement had be-come officially recognized by the pulpit

57、 (n. 講道壇) (which denounced (v. 告發(fā),公然抨擊)it), by the movies and magazines (which made it attractively naughty while pretending to denounce it), and by advertising (which obliquely (bli:kli 傾斜的) encouraged it by selling everything from cigarettes to automobiles with the implied promise that their owner

58、s would be rendered sexually irresistible).,Younger brothers and sisters of the war generation, who had been playing with marbles and dolls during the battles of Belleau Wood and Chateau-Thierry, and who had suffered no real disillusionment or sense of loss, now began to imitate the manners of their

59、 elders and play with the toys of vulgar rebellion. Their parents were shocked, but before long they found themselves and their friends adopting the new gaiety. By the middle of the decade, the wild party had become as commonplace a factor in American life as the flapper, the Model T, or the Dutch Colonial home in Floral Heights.,P 9,Meanwhile, the true intellectuals were far from flattered. What they had wanted was an America more sensitive to art and culture, less avid for material gain, and less susceptible (sseptbl adj. 易受影響的) to standard