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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".
正是在他們那抗爭性的，而總的說來又是短暫的僑居歐洲期間，二十年代我國的那些主要作家開始認識到自己一用格特魯德.斯坦的話說一就是所謂"迷惘的一代"。
In no sense a movement in itself, the "lost generation" attitude nevertheless acted as a common denominator of the writing of the times.
"迷惘的一代"本身雖不是一場什么文學運動，但那些"迷惘的一代"的作家的態度卻是那個時代文學作品的共同特征。
The war and the cynical power politics of Versailles had convinced these young men and women that spirituality was dead;
戰爭以及凡爾賽和約所表現出的犬儒主義的強權政治使這些青年男女們確信·精神世界已經不復存在了。
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.
他們就像多斯·帕索斯的《三個士兵》中的那個受挫的唯美主義者約翰·安德魯斯一樣感到茫然不知所措，又像海明威《太陽照樣升起》中的流浪醉漢一樣感到漂泊無依。
Besides Stein, Dos Passos, and Hemingway, there were Lewis Mumford, Ezra Pound, Sherwood Anderson, Matthew 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,
除斯坦、多斯.帕索斯和海明威外，還有劉易斯·芒福德、埃茲拉·龐德、舍伍德.安德森、馬修·約瑟夫森、J哈羅德斯特恩斯、TS'艾略特、E.E.卡明斯、馬爾科姆考利，以及其他許多小說家、戲劇家、詩人和評論家，都曾在法國的昂蒂布和塞納河左岸地區探索過自己的靈魂，
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.
都懷著滿腔孤憤對自己的祖國進行過猛烈辛辣的抨擊·而目.在幾年之后，純粹出于思鄉情切，幾乎無一例外地又都漂洋過海，回到祖國，定居于沿海小島上和新英格蘭地區的農莊上，來創作他們由于在一個更古老、更復雜的社會里經受磨煉而變得成熟了的作品。
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."
實際上，所謂"迷惘的一代"根本不曾迷惘過。在一段時間里，他們曾有過驚愕、孤獨無依的感覺，因而變得痛苦、尖刻，以致于反社會、反權威、好標新立異，其行為往往有些荒唐，更常常近于胡鬧--但卻從來"迷恫過"。
A decade that produced, in addition to the writers listed above, such fisures as Eugene O'Neill, Edna St. Vincent Millay, F. Scott Fitzserald, William Faulkner, Sinclair Lewis, Stephen Vincent Benet, Hart Crane, Thomas Wolfe, and innumerableothers could never be written off as sterile ,even by itself in a moment of self-pity.
除上述那些作家外二十年代還產生出了諸如尤金·奧尼爾、埃德娜·St.文森特。米萊、F.司各特.菲沃杰拉德、威廉福克納、辛苑萊劉易斯、斯蒂分'文森特·貝尼特、哈特·克萊恩、托馬斯·沃爾夫等以及一大批其他人才。因此，即便這十年充滿怨艾自憐之聲，也絕不能將其看作是荒蕪的年代而一筆抹煞。
The intellectuals of the Twenties, the "sad young men," as F.Scot Fitzserald 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 Iiveliest, freshest, most stimulating writing in its 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;他們曾試圖逃避現實，但又自動回到現實中來;他們痛責美國社會的市儈，但對自己的祖國卻又充滿熱愛。正是在這樣的過程中，他們創作出了美國文學史上最富有生氣、最令人耳目一新、最激動人心的文學作品。
(from Rhetoric and Literature by P. Joseph Canavan)
(選自《英國人》)
