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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用格特鲁德.斯坦的话说一就是所谓"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。
The war and the cynical power politics of Versailles had convinced these young men and women that spirituality was dead;
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。
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。
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，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，
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，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。
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."
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"。
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还产生出了诸如尤金·奥尼尔、埃德娜·St.文森特。米莱、F.司各特.菲沃杰拉德、威廉福克纳、辛苑莱刘易斯、斯蒂分'文森特·贝尼特、哈特·克莱恩、托马斯·沃尔夫等以及一大批其他人才。因此，即便这十年充满怨艾自怜之声，也绝不能将其看作是荒芜的年代而一笔抹煞。
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.
二十年代的知识分子，也就是F司各特菲茨杰拉德所称的"悲哀的青年一代"，诅咒过自己的命运，但并没有消亡;他们曾试图逃避现实，但又自动回到现实中来;他们痛责美国社会的市侩，但对自己的祖国却又充满热爱。正是在这样的过程中，他们创作出了美国文学史上最富有生气、最令人耳目一新、最激动人心的文学作品。
(from Rhetoric and Literature by P. Joseph Canavan)
(选自《英国人》)
