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需要当做一门新语言来学，古英语（诺曼征服前的盎格鲁-撒克逊语）的语音、语法和冰岛语相近，比现代英语复杂的多。 先读一本英语史，对英语发展有个整体把握。 入门的话，用Bruce Mitchell的A Guide to Old English，国内有影印版。 在线课程是这个： …
这几部&br&&br&&b&伊拉龙，也叫遗产四部曲&/b&&br&&br&在很久以前，这片大陆由一个正义组织守护，这个组织就是龙骑士组织，但是这个组织里有一位天才少年，被原力的黑暗面所诱惑（雾），变坏了，变坏后就搞无间道（雾），摧毁了组织，消灭了几乎所有的龙骑士，干掉了所有的龙，把龙蛋全部都搜集起来，建立一个庞大的集权主义帝国，成了赫赫有名的暴君，因为他的龙骑士体质问题，跟我们寻常熟悉的中世纪封建社会帝国暴君不同——他的寿命和龙一样，近乎长生不死，所以人类就想办法，和精灵族联手，开始一起抵抗云云&br&&br&主角是个普通农家的小伙子，在书里是一个龙傲天般的角色，不断的打怪升级收妹子，明明样貌平平但总是能吸引美女，而且是跨种族跨人种跨肤色的各种妹子，之后因为受伤被精灵祝福咏唱咒语治伤，体质得到改变，变成半人半精灵，样貌也变帅了——这是我第一次看到YY小说里，开整容挂的，麻痹&br&&br&一开始我以为这只是个龙傲天的网文主角，身份平平，但万万没想到后来第三部还是第四部登场了他的身份，然后就不再是小白了，而是火影忍者鸣人太子的身份，其爹妈的感情线，堪称台湾欧美八点档黄金电视剧苦情戏情节，让我大跌眼镜，感觉爽歪歪了。&br&&br&书中有大量的动作戏和魔法互攻戏，且废话很多，作者文笔一般，但架不住白烂，剧情简单，打斗激烈绚丽，极其精彩。&br&&br&这套书在欧美YA青春文学界，大约等同《斗破苍穹》，虽然从剧情的爽度好和动作戏的密集程度来说，还不如斗破，但是在欧美文学中，这种书已经属于绝对的另类了，灰常推荐。&br&&br&&b&Vampire Earth，吸血鬼地球&br&&/b&主要就是很久以前，宇宙中有一个种族，简称为神吧。&br&&br&神的科技极为发达，在世界各地都建造了星门，几乎探索遍了宇宙，之后开始研究永恒永生之术，无意间有人发现可以通过技术吸收类人型生物的生命能量来补给自己，给自己续命可永生不死，吸牛猪狗羊鸡都可以续命，但是效果都不如类人型生物好，也就是跟这个种族外形体态类似的生物，于是他们就在地球播种基因，引发各种生物进化，诞生了人类，供自己享用。&br&&br&后来这个种族有一个天才发现直接吸本族人效果更好，于是引发了无法遏止的恶劣后果，神族四分五裂互相大战，最后他们离开地球，关闭所有星门，整个种族奄奄一息快完蛋了。&br&&br&之后宇宙中另一个种族崛起，继承了原始神族的各种科技，化为己用，其中包括了吸收技术，在2000年的某天，他们突然打开地球某个角落的星门，驾驶着星舰浩浩荡荡的出现在地球表面。&br&&br&该种族人的肉体貌似很脆弱，所以他们利用生物科技，制造了很多奇幻世界里的生物，比如说食尸鬼啊，半兽人啊什么的，在地球上到处游荡，代替自己狩猎。&br&&br&总之这就是个披着科幻外壳的奇幻故事，&br&&br&地球各国政府几乎一接触外星人就完蛋了，大部分地区都成为占领区，全部都退回到了二战前的科技水平和生活水平，作为猪仔和食物被圈养，少部分人逃往各种极寒地带，组织抵抗军坚持反抗。&br&&br&人类在抵抗中因为一些奇遇，可以自我发展出一些超能力，激发生命能量，有一些发达的运动神经和运动能力加成，分为狼，猫，熊三种能力，wolve cat bear，当然能力加成很有限，做不到和外星转基因怪物直接徒手对抗，还是得靠武器。&br&&br&这部书的打斗镜头因此极为精彩，动作分镜做的特别好，而且全部都是高速的拳脚和武器对拼，显得极为流畅，男生看了定会大呼过瘾。&br&&br&当然本质来说跟网文还是没区别，仍然是主角升级，逆天，收妹子的过程，且有黄色描写，虽然不多。&br&&br&&b&The Dresden Files 德累斯顿档案，或者叫巫师神探&/b&&br&这本书的主角叫做Harry Dresden，做的工作大概可以想象成哈利波特长大了，在麻瓜界开了个傲罗侦探事务所，专门来处理麻瓜的一些灵异事件，同时接受芝加哥警察局的顾问工作，因为灵异案件越来越多，警察局不得不专门成立特别调查科来处理类似吸血鬼和狼人之类的伤人事件。&br&&br&主角被作者故意写成穷脏挫的屌丝——因为侦探事务所的生意太差导致房租都付不起，一开始没钱，只能穿一件牛仔布的夹克风衣，后来还是别人送了他一件皮质的夹克风衣，之后就万年穿这一件衣服，始终不洗。&br&&br&但主角其实是个伪装成穷脏挫的高帅富，在整本书里也是不断升级，后期成为地面最强魔法师，精通火系和雷系魔法，可以徒手施咒，除了魔杖外，作为武器的爆炸仗和母亲留下的手镯攻击力也超强，本人的肌肉发达，武斗能力也不输给野蛮人大剑士。&br&&br&他面对的敌人也非常险恶，有从地狱出来的撒旦宠物，有吸血鬼黑帮，有各种异形世界的大魔王，还有各种鬼魂恶魔。&br&&br&书中主角的管家，也就是藏在骷髅里的鬼魂，和电视剧设定完全不一样，电视剧里是个知识渊博，且非常强大的妖怪，模样是一位英国绅士，因为某些原因导致被封印在骷髅里，平时以灵体出现在主角家，几乎没有法力了，当然，书中这位仁兄也是如此，一位非常强大的妖怪，被封印在骷髅里，现在几乎没有法力。&br&&br&但是，书里这位仁兄和电视里那位文质彬彬一口英伦腔的管家非常不一样，它不喜欢以英俊的灵体状态出现，直接就是一个会说话的骷髅头形态，而且性格极其欢脱，此人承包了本书中90%以上的搞笑部分，最拿手的是制作魔药（我怀疑有没有可能是斯内普教授的灵魂给这位哈利封印在了骷髅里），最热衷的事情有两个，一个是跟主角开各种无节操无底线的黄色笑话，一个就是大胸大屁股的美眉，当然它最大的志向理想还是开发出最牛逼的迷情药水，并且已经跟主角说过很多次要他量产这种药水走上发家致富的人生巅峰，可惜被正义感十足的主角给拒绝了，守着金饭碗要饭，真是naive，看的我着急呀。&br&&br&本作的文笔，非常小白，简单的说就是故意以这种浅白平实的写作手法来写作，大致风格你们参考下倪匡的卫斯理系列就知道了，能怎么小白就怎么小白，有的时候你都会觉得我草我一个外国人看英文书都能感觉得到这人的文笔也太差了吧！&br&&br&但是这本书的优点就是非常重口和艳情，过往美眉不断，打斗极为重口，能怎么暴力血腥怎么暴力血腥，看的人心潮澎拜，动作场面极其精彩，第一部里就由邪教组织举办的群交仪式，看的我血脉偾张，excited！&br&&br&这种系列的小说，在北美有一种专门的流派名称，叫做硬汉小说，也叫做urban legend都市传奇小说，我们的主角Harry，常年不苟言笑胡子拉碴，穿着万年不洗的皮夹克，就这么如同及时雨一样维护世界和平和正义，其本人还是巫师界的学霸，学术研究和创新能力极强，值得所有人学习。&br&&br&&b&异星战场A Princess of Mars&br&&/b&A Princess of Mars是火星军阀系列的第一步，这部是全世界YY系，穿越系小说的师祖，堪称奇葩中的奇葩，从头到尾几乎全是YY，而且以一种非常不合理不科学的方式穿越到了火星，开始了一场异世界的大冒险，主角不断升级，冒险，收妹子，上演了一起可歌可泣的爱情故事&br&&br&根据我的考证，谈穿越，谈YY，这本书可能是文学史上的第一本真正穿越小说。&br&&br&考虑到此书的成书年代，就好像还珠楼主的蜀山剑侠传一样，你简直好奇在那个吃不饱饭没有互联网的年代，居然有神人的脑洞可以这么大？！excited！&br&&br&首先是主角穿越到了火星，立刻就开始不断被妹子爱戴，无数妹子喜欢，然后主角因为地球人的体质，火星上引力小一半（科学原理请不要深究），所以力大无穷，可腾云驾雾，几乎就是火星绿巨人，爽感无比。&br&&br&整本书都是主角在火星上的哲♂学之旅，操最美的公主，约最爽的架，结交最孔武有力的汉子，和最爽快通畅的勇士斗殴，看着让人非常舒服，无比舒坦。&br&&br&本文虽然YY，直男癌，虽然也有很多很多女性爱他，但男主从头到尾只爱女主一人，且只和女主一人发生过关系，所以看着还是蛮爽的&br&&br&这本书被改编成了电影，以我的脑残死忠的眼光来看，非常不错，简直完美大成，可惜当年没去电影院看，50颗星星推荐！&br&&br&当然这几部都不如《斗破苍穹》的英文翻译版好看
这几部 伊拉龙，也叫遗产四部曲 在很久以前，这片大陆由一个正义组织守护，这个组织就是龙骑士组织，但是这个组织里有一位天才少年，被原力的黑暗面所诱惑（雾），变坏了，变坏后就搞无间道（雾），摧毁了组织，消灭了几乎所有的龙骑士，干掉了所有的龙，把…
&figure&&img src=&https://pic3.zhimg.com/v2-8b0e8ae61bf215d1e218c_b.jpg& data-rawwidth=&1200& data-rawheight=&900& class=&origin_image zh-lightbox-thumb& width=&1200& data-original=&https://pic3.zhimg.com/v2-8b0e8ae61bf215d1e218c_r.jpg&&&/figure&最近我在重温《高级英语》时，看到了一篇文章，这篇文章&i&&b&《The Sad Young Men》&/b&&/i&节选自美国1952年出版的&i&&b&《Backgrounds of American Literary Thought》&/b&&/i&，也即是《美国文学思想背景》。&br&&br&这篇文章讲述了美国二十世纪二十年代的历史和文化背景，当然也提及了那个“爵士时代”的一些作家。其中包括了&b&菲茨杰拉德、海明威、威廉·福克纳&/b&等代表性作家。这片文章更像是在为“迷惘的一代”正名，文章分析了那个时代的社会历史背景，也指出了“迷惘的一代”的由来和性质。&br&&br& 有意思的是，这篇文章的名字《The Sad Young Men》正是来自于菲氏的短篇小说集《All The Sad Young Men》，也即是《那些忧伤的年轻人》，原来早在六十年前菲氏就已经被认为是爵士时代的编年史者和桂冠诗人了。&br&&br& 我一直觉得读一本书，&b&一定要先了解这个作者所处的时代背景，把作者身处的时代和书中的虚拟世界联系在一起，这样才能更好得去理解这本书。&/b&我建议想要读菲茨杰拉德，海明威，威廉·福克纳等爵士时代作家作品的读者，都可以先看看这篇文章。&p&&br&&br&以下为正文：&br&&br&&b&二十年代社会生活的各个方面中，被人们评论得最多、渲染得最厉害的，莫过于青年一代的叛逆之行了。只要有只言片语提到那个时期，就会勾起中年人怀旧的回忆和青年人好奇的提问。&/b&中年人会回忆起第一次光顾非法酒店时的那种既高兴又不安的违法犯罪的刺激感，回忆起对清教徒式的道德规范的勇猛抨击，回忆起停在乡间小路上的小轿车里颠鸾倒凤的时髦爱情试验方式；青年人则会问起有关那时的一些纵情狂欢的爵士舞会，问起那成天背着酒葫芦、勾引得女人团团转的“美男子”，问起那些“时髦少女”和“闲荡牛仔”的奇装异服和古怪行为等等的情况。“那时的青年果真这样狂放不羁吗?” 今天的青年学生们不禁好奇地向他们的师长问起这样的问题。&b&“那时真的有过青年一代的问题吗?”对这类问题的回答必然只能是既“对”又“不对”——说“对”是因为人的成长过程中一贯就存在着所谓青年一代的问题；说“不对”是因为在当时的社会看来似乎是那么狂野，那么不负责任，那么不讲道德的行为，若是用今天的正确眼光去看的话，却远远没有今天的一些迷恋爵士乐的狂荡青年的堕落行为那么耸人听闻。&/b&&br&&br&&b&实际上，青年一代的叛逆行为是当时的时代条件的必然结果。首先，值得记住的是，这种叛逆行为并不局限于美国，而是作为百年之中第一次惨烈的战争的后遗症影响到整个西方世界。&/b&其次，在美国，有一些人已经很不情愿地认识到——如果不是明明白白地认识到，至少是下意识地认识到——无论在政治方面还是在传统方面，我们的国家已不再是与世隔绝的了；我们所取得的国际地位使我们永远也不能再退缩到狭隘道德规范的人造围墙之后，或是躲在相邻的两大洋的地理保护之中了。&br&&br&在当时的美国，摒弃维多利亚式的温文尔雅无论如何都已经是无可避免的了。&b&美国工业的飞速发展及其所带来的庞大的、机器轰鸣的工厂的出现，社会化大生产的非人格性，以及争强好胜意识的空前高涨，使得在较为平静而少竞争的年代里所形成的温文尔雅的礼貌行为和谦谦忍让的道德风范完全没有半点栖身之地。&/b&不论是否发生战争，随着时代的变化，要我们的年轻一代接受与他们必须在其中拼搏求胜的这个喧嚣的商业化社会格格不入的行为准则已经变得越来越难。战争只不过起了一种催化剂的作用，加速了维多利亚式社会结构的崩溃。战争把年轻一代一下子推向一种大规模的屠杀战场，从而使他们体内潜藏的压抑已久的狂暴力量得以释放出来，待到战争一结束，这些被释放出来的狂暴力量便在欧洲和美国掉转矛头，去摧毁那日渐衰朽的十九世纪的社会了。&br&&br& 这样一来，在一个千变万化的世界中，青年一代便面临着使我们的道德习惯与时代合拍这一挑战。而与此同时，青年人——至少美国的青年人表现出这样一种倾向：他们试图逃避自己的责任，沉溺于一种老于世故、以酒自娱的生活作风之中，装出一副波希米亚式的放荡不羁的样子。&b&追求时尚，为了短暂的快乐和一时的新奇而大肆挥霍，纵情地狂欢，寻求各种各样的感官刺激——性行为，吸毒，酗酒以及各种各样的堕落行为——这些都是他们逃避责任的表现形式，是一种由社会的普遍繁荣及战后人们对于政治、经济限制和国际义务所产生的厌烦情绪所造成的逃避方式。&/b&禁酒法令使青年人有了更多的机会寻求违禁取乐的刺激。文人墨客纷纷涌人格林尼治村，他们那些被大肆渲染的放纵行为和挑战性言论也为青年人的逃避主义提供了一种表现形式和一套哲学辩护辞。这种逃避主义者的纵情狂欢，像大多数逃避主义者的纵情狂欢一样，一直要持续到狂欢者囊空如洗为止。到二十年代末世界经济结构总崩溃之时，这种狂欢宴会便告停歇，那些寻欢作乐者也只得从酣醉中清醒过来，去面对新时代的各种难题了。&br&&br&&b&青年人的叛逆行为是随着第一次世界大战而开始的。年间那旷日持久的僵持局面，德国对美国所表现出的越来越傲慢无礼的态度，以及我国政府迟迟不愿宣布参战的作法，都使我们理想主义的公民觉得无法忍受。我们的青年，本身已怀着典型的美国式冒险精神，又多少受到西奥多罗斯福的狂热沙文主义思想的怂恿，于是便开始在外国旗帜下入伍参战。&/b&用约翰·多斯·帕索斯的《美利坚合众国)中的人物乔·威廉斯的话说，他们“是想趁着战争还没结束就参加到这场游戏中去”。因为在年间，入伍当兵还是一种富于浪漫色彩的职业。在1917年正处于上大学年龄的年轻人对于现代战争还一无所知。年间的那场战争早已通俗地在电影和小说中成了一部散发出木兰花香的连续剧，而1898年同西班牙之间的百日战争在影剧故事中总是被描写成美军在马尼拉大获全胜或是冲上圣胡安山顶的电影镜头式场面。此外，更有许多演说家们在中学生集会上大肆渲染战场上的紧张生活在培养性格方面的力量，使得那些本来还算有头脑的年轻小伙子们都信以为真，以为到欧洲战场上去服役不仅是一件令人兴奋的理想化的美事，而且具有巨大的人生价值。因此，越来越多的年轻人便开始加入各兵种，“知识分子型的人”加入救护兵团，其余的人则分别加入步兵部队、商船队，或到其他任何有其用武之地的单位去服役。那些不愿到外国军队里去服役的人则慷慨陈辞，表示自己随时“待命出征”；间或也有考虑参加国民自卫队的，待到我国最终决定参战时，他们便踊跃地报名参军。各征兵站的报名者都是人如潮涌，弄得主管征兵事务的军曹们焦头烂额，实在无法应付，以至于恳求志愿报名者“且先归家，静待征召”，然而，有自尊心的人谁也不愿蒙受“被征召入伍”的耻辱，因此，青年人的参军热潮持久不衰。&br&&br&&b&一旦这些满腔热血的年轻人饱尝了二十世纪战争的滋味以后，那种纵情狂欢的兴致和要从事轰轰烈烈的军事冒险的热情自然很快就烟消云散了。&/b&他们可以永远感到光荣，因为他们在战场上表现得很出色，但是1919年从战场上回来的却是一批已经发生了很大变化的士兵。大学兵团的土兵们更是如此。他们在理想主义的感召下很早就到军中服役，可谓是屡经沙场。对他们来说．回到几乎没有受到战争的任何影响的故乡是一件痛苦的事，因为在那里，人们仍在像庆祝独立日时那样天真地大唱爱国的高调，而这是他们自己两三年前也曾犯过的错误。更令他们痛苦的是，他们发现自己原来的工作已被留在家里的人夺占了。而当时又正值经济萧条时期，新的工作无法找到，现有的工作机会本就，为数不多，而且人们又宁愿聘用非退伍军人，而把退伍军人看作难对付的孩子，不愿聘用。&b&就连他们自己的家对他们来说也常常是不舒服的；他们再也不能适应家乡和家庭了，并且萌生出一种突如其来的、迷惘的厌世之感。这种感觉不论是他们自己还是他们的亲友都不能理解。战争激起了他们的劲头，打掉了他们的天真幼稚。&/b&而现在，在遍布全国的沉睡的、落后的地方，到处都要求他们抑制他们的劲头，并恢复那种自欺欺人的、维多利亚式的天真无邪的态度。但是他们现在觉得这种态度同那种说什么他们的战斗已“使民主在这个世界有了保障” 的论调一样，都是陈旧过时的。再者，似乎家乡的情况还不够受的，&b&退伍军人还得面对凡尔赛和约那种愚蠢的、拿破仑式的犬儒主义、禁酒法令那种虚伪的行善主义，以及那些发了战争财的人们的洋洋自得的爱国主义。那些气鼓鼓的美国青年的不满迟早要爆发出来。在经过一段短暂的强烈的怨忿之后，它终于以一种彻底推翻温文尔雅的行为规范的形式而爆发出来了。&/b&&br&&br&格林尼治村为他们树立了榜样。自七十年代因其生活消费低‘廉而成为艺术家和作家聚居地以来，格林威治村在很长时间里一直享有波希米亚式生活和怪僻行为的说不清是好还是坏的名声。过去，尤其是在第一次世界大战之前的十年中，这地方还曾栖居过许多大作家，因而使它成了名副其实的全美国文人雅士中心。&b&战后，那些脑子里和笔杆子里都充满着对战争、市侩气和“清教徒式的”道德修养的仇恨的怒火的年轻有为的作家们便自然而然地云集到这个传统的艺术中心(那儿的生活消费在1919年仍很低廉)，去倾泻他们那新近获得的创造力，去摧毁旧世界，嘲弄前辈们所信守的道德规范，把自己的一切献给艺术、爱情和感官享受。&/b&&br&&br&&b& 很快，知识分子阶层以外的人便也开始仿效他们了。在全国各地，青年人蔑视法律和一切传统习惯，为“燃烧着的青年”的大火添柴加油越来越成为时髦之举，而煽起这场大火的正是格林尼治村。 &/b&“波希米亚”生活方式已成为人们追求的时尚，每个城镇都有一群“生活放荡者”，他们为自己的反传统行为感到自豪，可实际上，这种有意识的反传统行为正迅速在全国范围内成为乡村俱乐部的富人们以及一些不那么富有的效仿者所共有的一个基本特征。没过多久，这场运动便得到了教会、电影杂志以及广告商们的正式承认：教会方面是通过谴责的方式对它予以承认；电影杂志则是一方面假意对它进行谴责，一方面又将它描写得放荡胡闹而又引人人胜；广告商们更是间接地对这场运动起了推波助澜的作用，因为他们不论是推销香烟还是推销汽车一类的商品时都在暗示说，这种商品将使买主具有不可抗拒的性感。在贝洛森林战役和蒂耶里堡战役正在进行之时，参战青年的小弟弟小妹妹们还在家里玩着弹子游戏和洋娃娃，他们并没有体验到真正的幻想破灭或失落感，可现在竟也学起兄长们的样子，玩起群众性的反传统游戏来了。他们的父母先是大吃一惊，继而便发现自己以及自己的朋友们也都正在接受这种时兴的快乐的生活方式了。及至二十年代中期，这种“放荡的狂欢会”便像摩登少女、T型汽车或弗拉洛花园的荷兰式房屋一样，成为美国生活中司空见惯的事物了。&br&&br&其时，真正的知识分子对此现象远远谈不上满意。他们原本所希望的是使美国成为一个对艺术和文化更为敏感，对物质利益不那么贪求，对标准化观念不那么轻易接受的国家。然而，他们的这种思想完全没有受到人们注意，而他们的行为却由于提供了一种已变得如同“扶轮国际午餐会”一样常规化的“波希米亚式”的生活模式，反倒助长了这种标准化观念。结果，他们从战场上归来时本已十分强烈地对自己国家不满的情绪，现在就变得更加忍无可忍了。于是，他们的笔尖下便喷射出愤怒的火花，猛烈抨击着美国社会中的唯物质主义以及他们所称的文化市侩习气。由“三十位知识分子”合撰、哈罗德·斯特恩斯编辑出版的一部颇为庄重地题名为《美国的文明》的重要著作，汇集的便是一些憎恶美国的敏感人土的抨击性言论。&b&这部著作的中心主题是在美国，杰出人才得不到重视，艺术事业无人理解，大企业的腐蚀败坏了整个社会。新闻事业沦为发财赚钱的工具，政治腐败，官场上充斥着庸才和骗子，而美国人的家庭生活也由于人们一心想着挣钱和与邻里斗富而变得索然无味，刻板单调，充满虚情假意，夫妻生活也缺乏鱼水之乐。本来只需让创造性艺术来指明通向美好生活的道路，以上这些缺憾就会自动消失的。可是，美国举国上下除了亮晶晶响当当的美金之外，对其他的一切都视而不见，充耳不闻。&/b&因此，对那些敏感的才俊之士来说，唯一的出路便只有移居欧洲，“那儿的情形要好一些”。《美国的文明》正式出版(1921)之时，该书的撰稿人大多数已经接受自己的忠告寄居在国外了，还有许多别的艺术家和预备艺术家也纷纷步其后尘。&br&&br&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——用格特鲁德·斯坦的话说——就是所谓“迷惘的一代”。&b&“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。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。&/b&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。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、T·S·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，都怀着满腔孤愤对自己的祖国进行过猛烈辛辣的抨击，而且在几年之后，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练而变得成熟了的作品。&br&&br&&b&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，以至于反社会、反权威、好标新立异，其行为往往有些荒唐，更常常近于胡闹——但却从未“迷惘过”。&/b&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、司各特·菲茨杰拉德、威廉·福克纳、辛克莱·刘易斯、斯蒂芬·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。&b&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。二十年代的知识分子，也就是司各特·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。&/b&&br&&br&&br&&br&&br&以下为英文原文:&br&&br&No aspect of life in the Twenties has been more commented upon and sensationally romanticized than the so-called Revolt of the Younger Generation. The 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, of the brave denunciation of Puritan morality, and of the fashionable experimentations in amour in the parked sed questions about the naughty, jazzy parties, the flask-toting &sheik,& and the moral and stylistic vagaries of the &flapper& and the &drug-store cowboy.& &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 of necessity be &yes& and &no&--&Yes& because the business of growing up is always accompanied by a Younger Generation P &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 than the degenerauon of our jazzmad youth.&br&　　 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 confined to the Unit- ed States, but affected the entire Western world as a result of the aftermath 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 tradition 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.&br&　　The rejection of Victorian gentility was, in any case, inevitable. The booming of American industry, with its gigantic, roaring factories, its corporate impersonality, and its largescale aggressiveness, no longer left any room for the code of polite behavior and well-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. The war acted merely as a catalytic agent 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, after the shooting was over, were turned in both Europe and America to the destruction of an obsolescent nineteenth-century society.&br&　　Thus in a changing world youth was faced with the challenge of bringing our mores 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 and a pose of Bohemian immorality. The faddishness , the wild spending of money on transitory pleasures and momentary novelties , the hectic 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 with politics, economic restrictions, and international responsibilities. Prohibition afforded the young the additional opportunity of making their pleasures illicit , and the much-publicized orgies and defiant 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 party to a halt and forced the revelers to sober up and face the problems of the new age.&br&　　The rebellion started with World War I. The prolonged stalemate of 1915 -- 1916, the increasing insolence of Germany toward the United States, and our official reluctance to declare our status as a belligerent were intolerable to many of our idealistic citizens, and with typical American adventurousness enhanced somewhat by the strenuous　 jingoism of Theodore Roosevelt, our young men began to enlist under foreign flags. 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, was still a romantic occupation. The young men of college age in 1917 knew nothing of modern warfare. The strife of 1861 --1865 had popularly become, in motion picture and story, a magnolia-scented soap opera, while the one hundred-days' fracas with Spain in 1898 had dissolved into a one-sided victory at Manila and a cinematic charge up San Juan Hill. Furthermore, there were enough high school assembly orators proclaiming the character-forming force of the strenuous life to convince more than enough otherwise sensible boys that service in the European conflict would be of great 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 in 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 sergeants actually pleaded with volunteers 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.&br&　　Naturally, the spirit of carnival and the enthusiasm for high military adventure were soon dissipated 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 the college contingent, 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 they themselves had been guilty of two or three years earlier. 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 the opening up of new jobs, and that veterans were considered problem children and less desirable than non-veterans for whatever business opportunities that did exist. Their very homes were often u they had outgrown town and families and had developed a sudden bewildering world-weariness which neither they nor their relatives could understand. Their energies had been whipped up and their naivete destroyed by the war and now, in sleepy Gopher Prairies all over the 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 as the notion that their fighting had &made the world safe for democracy.& And, as if home town conditions were not enough, the returning veteran also had to face the sodden, Napoleonic cynicism of Versailles, the hypocritical do-goodism of Prohibition, and the smug patriotism of the war profiteers. 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.&br&　　 Greenwich Village set the pattern. Since the Seven-ties a dwelling place for artists and writers who settled there because living was cheap, the village had long enjoyed a dubious reputation for Bohemianism and eccentricity. 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 inflamed against war, Babbittry, 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 give all to art, love, and sensation. &br&　　 Soon they found their imitators among the non-intellectuals. As it became more and more fashionable throughout the country for young persons to defy the law and the conventions and to add their own little matchsticks to the conflagration 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 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 imitators --throughout the nation. Before long the movement had be-come officially recognized by the pulpit (which denounced it), by the movies and magazines (which made it attractively naughty while pretending to denounce it), and by advertising (which obliquely encouraged it by 'selling everything from cigarettes to automobiles with the implied promise that their owners 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 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.&br&　　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 to standardization. Instead, their ideas had been generally ignored, while their behavior had contributed to that standardization by furnishing a pattern of Bohemianism that had become as conventionalized as a Rotary luncheon. As a result, their dissatisfaction with their native country, already acute upon their return from the war, now became even more intolerable. Flaming diatribes poured from their pens denouncing the materialism and what they considered to be the cultural boobery of our society. An important book rather grandiosely entitled Civilization in the United States, written by &thirty intellectuals& under the editorship of J. Harold Stearns, was the rallying point of sensitive persons disgusted with America. The burden of the volume was that the best minds in the country were being ignored, that art was unappreciated, and that big business had corrupted everything. Journalism was a mere adjunct to moneymaking, politics were corrupt and filled with incompetents and crooks, and American family life so devoted to making money and keeping up with the Joneses that it had become joyless, patterned, hypocritical, and sexually inadequate. These defects would disappear if only creative art were allowed to show the way to better things, but since the country was blind and deaf to everything save the glint and ring of the dollar, there was little remedy for the sensitive mind but to emigrate to Europe where &they do things better.& By the time Civilization in the United States was published (1921), most of its contributors had taken their own advice and were Wing abroad, and many more of the artistic and would-be artistic had followed suit.&br&　　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&. In no sense a movement in itself, the &lost generation& attitude nevertheless acted as a common denominator of the writing of the times. The war and the cynical power politics of Versailles had convinced these young men and women that s 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. 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, 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. &br&　　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.& 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 Benét, Hart Crane, Thomas Wolfe, and innumerableothers could never be written off as sterile ,even by itself in a moment of self-pity. The intellectuals of the Twenties, the &sad young men,& as F. Scot Fitzserald called them, cursed their luck but didn' escaped but
flayed the Babbitts but loved their country, and in so doing gave the nation the Iiveliest, freshest, most stimulating writing in its literary experience.&/p&
最近我在重温《高级英语》时，看到了一篇文章，这篇文章《The Sad Young Men》节选自美国1952年出版的《Backgrounds of American Literary Thought》，也即是《美国文学思想背景》。 这篇文章讲述了美国二十世纪二十年代的历史和文化背景，当然也提及了那个…
排名前10位的欧美文学杂志：&br&1.Analog Science Fiction And Fact Magazine &br& 在科幻流派的先驱领导者。以 短篇小说和科学为特色。&br&&br&2.Asimov's Science Fiction Magazine
&br&最好最新的科幻小说杂志。&br&&br&3.BookPage Magazine &br&美国的书评，涵盖了每月最好最新书籍的信息。 &br&&br&4.Carpe Articulum Literary Review Magazine &br&杂志致力于文学艺术的延续。每个问题的及时Articulum“文学评论”杂志介绍到写作的世界里新鲜的声音和新的见解。 &br&&br& 5.Heavy Metal &br&提出了世界上最好的插画的创造性意见。 &br&&br&6.London Review of Books &br&伦敦书评“的读者不仅阅读书籍，还沉浸于它们创建的文化。 评论经常讨论这本书的整个主题，不仅仅批判它的质量，还对这本书的影响力和社会地位也进行生动地讨论。 &br&&br&7.New York Review of Books &br&纽约图书评论杂志，是美国最大的文学和智力杂志。纽约书评发表论文书评和挑衅性的文章，今天最好的美国和欧洲作家，包括戈尔维达尔，纳丁·戈迪默，奥利弗·萨克斯，斯蒂芬·杰伊·古尔德，琼·迪迪翁，罗伯特·斯通，奈保尔，和许多其他都是其读者。&br&&br& 8.Oxford American Magazine&br&牛津美国成立于1992年，社论使命是探索美国南方。 它出版了许多由这个国家的最优秀的作家，包括原始写作唐娜·Tartt，查尔斯波蒂斯，巴里·汉纳和苏珊·桑塔格，珀西沃克和詹姆斯·阿吉的作品。 &br&&br&9.The Whitefish Review Magazine &br&白鱼评论杂志倾向于功能小说，非小说，诗歌，美术，摄影。 白鱼评论杂志，将知名和新兴的作家与艺术家的不同组合，完美的呈现在杂志中。 &br&&br&10.The Writer Magazine&br&是一个不可或缺的专业和有抱负的作家杂志。 每个问题都包含在各个领域的领导作家所撰写的文章。
排名前10位的欧美文学杂志： 1.Analog Science Fiction And Fact Magazine 在科幻流派的先驱领导者。以 短篇小说和科学为特色。 2.Asimov's Science Fiction Magazine 最好最新的科幻小说杂志。 3.BookPage Magazine 美国的书评，涵盖了每月最好最新书籍的…
19 世纪前的美国，完全是文化沙漠。至于二十世纪的马克吐温，福克纳，斯坦贝克，菲茨杰拉德，梅尔维尔，等等，都是轻量级，无足轻重的文学。&br&&br&&b&美国文学最幼稚的地方在于，没有一个美国作家，敢于正视谁是美国人，从哪里来，到哪里去的问题。&/b&这些所谓的伟大美国作家，在黑白民族问题上，或傲慢，或自大，或犹豫，或懦弱。这个源头，是从库柏的 [最后的莫西干人] 开始的。&br&&br&　　殖民地文学，代表白人文化界的一种典型伪善。所以美国文学和美国作家最重要的一个特征，就是虚伪和伪善，急于洗白自己的历史，最终都成为可笑的小人。&br&&br&　　典型的殖民地文学，只有马尔克斯的 [百年孤独] 好一点，但也只是好一点。&br&&br&　　从库伯的 [最后的莫西干人]，到马尔克斯的 [百年孤独]，百年诺贝尔文学史，是白人文学界刻意的伪善史。
19 世纪前的美国，完全是文化沙漠。至于二十世纪的马克吐温，福克纳，斯坦贝克，菲茨杰拉德，梅尔维尔，等等，都是轻量级，无足轻重的文学。 美国文学最幼稚的地方在于，没有一个美国作家，敢于正视谁是美国人，从哪里来，到哪里去的问题。这些所谓的伟大美…
&figure&&img src=&https://pic7.zhimg.com/c08a_b.jpg& data-rawwidth=&690& data-rawheight=&460& class=&origin_image zh-lightbox-thumb& width=&690& data-original=&https://pic7.zhimg.com/c08a_r.jpg&&&/figure&&p&应@
谭酸菜 之约，po一个单子，回应和补充老谭的专栏文章：&a href=&http://zhuanlan.zhihu.com/liluojia/& class=&internal&&读诗的一些建议吧 - 丢掉的尾巴 - 知乎专栏&/a& 。其实也不敢说补充，而且这个单子脱胎自大三美国文学这门课上下学期&u&读过&/u&和&u&提过&/u&的诗歌，所以我只是个回忆的搬砖者，部分加了中文翻译。&/p&&p&这个单子（包括后续会补充的英国文学篇）是按照&b&&u&文学史&/u&&/b&的思路和顺序来的，即每个时期挑选一些代表（书里学过）的诗人。基本介绍和书单推荐理由也都在文学史的综述里，具体一首诗歌的读法和建议就不谈了。&/p&&p&鄙党校美国文学教授是第一个将后现代主义引入国内本科英语系文学课的，虽然他讲课非常照本宣科，但是还是给我们开阔眼界了，默默向这位教授表示感谢。&/p&&p&为自己的辛苦的笔记本搬砖行为鼓掌并扔鸡蛋！&/p&&h2&&b&美国文学诗歌单&/b&&/h2&&p&&b&第一部分——&/b&&b&殖民主义时期&/b&&/p&&p&殖民主义时期的美国，文学创作大多由欧洲移民（清教徒）完成，还不能完全称为美国文学。采用的文学体裁包括narratives（ 日记） 和journals （游记），诗歌很少。清教徒文学的写作内容包括：&/p&&p&1）voyage to the new land&/p&&p&2) Adapting
themselves to unfamiliar climates and crops&/p&&p&3) Dealing with
Indians&/p&&p&4) Guide to the new
land, endless bounty, invitation to bold spirit&/p&&p&1、英国最早移民到美国的诗人：&b&Anne Bradstreet.&/b&&/p&&p&2、殖民时期最好的清教徒诗人： &b&Edward Taylor (&/b&the best of Puritan poets&b&).&/b&&/p&&p&Anne
Bradstreet 和 Edward Taylor这两位诗人将美国殖民地时期的诗歌真正提升到了诗歌的高度（ rose to the level of real poetry）.&/p&&p&&b&第二部分——&/b&&b&理性与革命时期 &/b&&b&Reasoning and Revolution&/b&&/p&&p&独立和解放时期除了本杰明富兰克林、托马斯潘恩、托马斯杰斐逊等政治家文学家，还是有诗人的。 &/p&&p&&b&Philip Freneau &/b&&b&菲利普&/b&&b&·&/b&&b&费瑞诺&/b&
诗人和政治新闻记者。&/p&&p&单子：&/p&&p&&b&The Rising Glory of
America&/b&蒸蒸日上的美洲；&/p&&p&&b&The British Prison
Ship&/b&英国囚船；&/p&&p&&b&To the Memory of
the Brave Americans&/b&纪念美国勇士-----同类诗中最佳；&/p&&p&&b&The Wild
Honeysuckle&/b&野生的金银花；&/p&&p&&b&The Indian Burying
Ground&/b&印第安人殡葬地&/p&&p&1)perhaps the most outstanding writer of the post-revolutionary period.&/p&&p&2)称为 &Father of American Poetry& 美国诗歌之父.&/p&&p&&b&第三部分——&/b&&b&浪漫主义（&/b&&b&Romanticism&/b&&b&)&/b&&/p&&p&特征：&/p&&p&1)Moral enthusiasm, faith in the value of individualism and intuitive
perception, and a presumption that the natural world wa society was the source of corruption. 强调感觉和直觉，强调个人，鼓励想象，热爱自然。&/p&&p&2)The desire for &u&an
escape from society&/u& and &u&a return to nature&/u& became a permanent
convention of American literature. 逃离社会，回到自然成为了美国文学永恒的创作习惯。&/p&&p&3)&u&Nationalism stimulated
a greater literary&/u& interest in America’s language.
American character types speaking &u&local dialects appeared in poetry and
fiction&/u& with increasing frequency. 受民族主义影响，作家的目光转向了美国本土的语言，具有美国特征的本土方言开始在诗歌和小说中大量涌现。&/p&&p&代表诗人：&/p&&p&&b&1、William Cullen
Bryant 布莱恩特&/b&&br&&/p&&p&1）As Irving shows
that American prose has come of age, so Bryant demonstrates to Europeans that American
poetry is also ready to demand serious attention.华盛顿欧文将散文提升到了一个成熟的高度，布莱恩特则向欧洲人宣告美国人已开始创作美国诗歌。&/p&&p&2）He was the first
American to gain the stature of a&b&&u& major poet.&/u&&/b&第一个获得美国主要诗人称号的作家。&/p&&p&单子：&/p&&p& “&b&To a
Waterfowl&/b&”《致水鸟》&/p&&p&“the most perfect
brief poem in the language”. 用美国英语写作的最完美的短诗。主题是the importance of struggling, of
fighting against difficulties and harshness. 正如上帝指引了水鸟夏季的迁徙之路，诗歌也透露着一种指引读者跨过阻碍到达目的地的意味。水鸟的家园多认为是人类天堂的象征。&/p&&p&&b&“Thanatopsis” &/b&《死亡随想录》&/p&&p&主要由对死亡的想象和invision构成，以blank verse（无韵诗）写就。主题包括：&/p&&p&1.
image of death is not horrifying, because you are going to melt into nature. Good aspects of
death: nature will guide people to a better understanding of life cycle, death
and rebirth. 死生轮回。 No matter what religion one believes, the poem provides comfort. Death is just all part of the cycle of Nature. People return to nature. 回归自然（浪漫主义的标志）&/p&&p&2.
No one dies alone. Death is equal to
anyone regardless of social class or age.死亡面前人人平等。&/p&&p&&b&2、&/b&&b&Edgar Allan Poe 爱伦&/b&&b&坡&/b&&/p&&p&“&b&The Raven&/b&”《乌鸦》（同时也是诗集的名字）&/p&&p&乌鸦：ominous symbol.
Bitterness and depress. &/p&&p&这首诗歌特点是dramatic
variation of tone. It begins with mournfulness and then progresses to
delight and eventually to madness under the raven’s steady repetition of “nevermore”.
The repetition becomes stronger and is pronounced like a drumbeat, leading the
poem to reach its climax.每一小节结尾都以 &b&“Nevermore” &/b&这句重复，节奏鲜明，层层递进，从悲伤到轻快最后到癫狂。&/p&&p&&b&3、&/b&&b&Ralph Waldo
Emersion &/b&&b&爱默生&/b&&/p&&p&爱默生除了写散文，还有一本诗集。具体诗单会在后续的“英美文学专题”列出。&/p&&p&“&b&Poems&/b&”《诗集》&/p&&p&&b&4、&/b&&b&Henry Wadsworth
Longfellow &/b&&b&朗费罗&/b&&/p&&p&安葬在威斯敏斯特Abbey的“诗人之角”(Poet's Corner)，是美国惟一获此殊荣的诗人。&/p&&p&单子：&/p&&p&&b&Psalm
of Life &/b&人生颂歌&/p&&p&特点是extensive use of depressing words and a bitter, cold, detached, dramatic and somber tone, set in a minor
scheme. The poem expresses both the confused feelings of discouragement and his
resolve not to succumb to mournful passivity. 表达的是失落的心情和向负能量屈服的被动心理。&/p&&p&&b&My
Lost Youth&/b& 致我们终将逝去的青春（大雾！！），是《青年之歌》&/p&&p&正相反，青年之歌是美丽曼妙的环境、安详纯净的生活， 并充满感激：enduring gratitude and appreciation for the
inspiration the scenery brings to him. Recalling his boyhood presents both
nostalgia and the idea of errant youth.通过回忆童年表达怀旧之情。 &/p&&p&最出名的是每一小节最后都重复的两行：&/p&&blockquote&“a boy’s will is the wind’s will, and the thoughts of youth are long, long thoughts.”&/blockquote&&p&&b&第四部分——&/b&&b&现实主义（&/b&&b&Realism&/b&&b&）&/b&&/p&&br&&p&现实主义里小说居多，正如英国的现实主义是以维多利亚小说为主要genre的。但还是说说整体文学特征吧。&/p&&p&&b&1）The Gilded Age&/b&（镀金时代）, an age of excess and extremes, of decline and
progress, of poverty and dazzling wealth, of gloom and buoyant hope. 无节制、走极端，倒退和进步、贫困和富有并存，既令人沮丧又让人有希望的时代。&/p&&p&2）现实主义和自然主义反对在作品中描绘理想化了的人物和事件，关注人性中的微妙之处。&/p&&p&3）&b&Local Color：&/b&Realism appeared in the United States in the literature of
local color, an amalgam of romantic plots and realistic descriptions of
things was immediately observable. &u&the dialects, customs, sights.
&/u&现实主义有浓厚的美国本土特色，是浪漫主义故事情节和现实主义描写相结合的产物。&/p&&p& 代表诗人：&/p&&p&&b&1&/b&&b&、&/b&&b&Walt Whitman
&/b&&b&沃尔特&/b&&b&.&/b&&b&惠特曼&/b&&/p&&br&&p&诗歌特点：&/p&&p&1）多用free verse (自由诗体)，without a fixed beat or regular rhyme scheme. 没有固定节奏和规律的韵谱，多认为是惠特曼追求自由、鼓励民主的表现。&/p&&p&2）《草叶集》中多以人与自然为话题。&/p&&p&3）将广义的民主与平凡的个人联系起来，“草根”民主（grass-root）的先驱。&/p&&p&单子：&/p&&p&&b&“Leaves of Grass” &/b& 草叶集（ 1870）
&/p&&p&the first genuine epic poem. 美国历史上第一部真正的史诗&/p&&p&&b&Song of Myself 自我之歌&/b&&/p&&br&&p&惠特曼的诗离不开的话题包括 “Grass-root democracy”, equality, and communion between individuals. &/p&&p&The poem explores the possibilities of communion between
individuals. Starting from the premise that “what I assume you shall assume”. The poet, a specific individual melts away into the abstract “Myself”.
tries to prove that he both encompasses and is indistinguishable from
the universe. 这首诗探索的是人与人的联通。联通的前提是“what I assume you shall assume“. 诗人在诗中完成了从简单个体到抽象的”自我“的演变， 以佐证个体既有独立性又与世界密不可分。&/p&&p&&b&Beat! Beat! Drums!&/b&&br&&/p&&p&it is a patriotic rally call for the North.南北战争时期为北军写的鼓舞士气的行进诗。 The
two main symbols, clearly referring to the war, are used to interrupt lives
of everyone who ignores them. The poet saves all mention of death until the
end and it makes powerful impact. Death can be a reason for the public to be
aware of the war, because there are already people dying for it. The final statement
shows that the ideals of the war are worth dying for. 死亡的话题直至最后显露，收尾有力。死或轻于鸿毛或重于泰山，为”义“而战是光荣和值得的。&/p&&p&&b&I sit and look out&/b&&/p&&p&&b&2&/b&&b&、&/b&&b&Emily Dickinson 艾米丽·狄金森&/b&&/p&&p&大V 不介绍了。&/p&&p&她的诗全都没题目，一般以首行做标题。单子：&/p&&p&&b&I
died for Beauty: &/b&&/p&&p&Beauty / Truth
/ Goodness are ultimately the same. &/p&&p&The insignificance of man. One cannot
succeed in achieving goals when alive. What is done on Earth is not
significant and that all causes death in the end. &/p&&p&After death, social
boundaries are no longer as eminent as in life. In death, everyone is equal
and equally forgotten.&/p&&p&&b&Because
I could not stop for Death &/b&&/p&&p&死亡是实现永生(Immortality)的途径，是和蔼的。The poet personifies death as a polite
and considerate gentleman who takes her in a carriage for a romantic journey
to eternity. He does not take her life. She remains immortality. 诗把死神比作请她上马车走向永生的绅士。&/p&&p&It also brings to light the mysteriousness of the 3 stages in the life cycle:
children, youth and the end of life. People do not really enjoy their life
when alive: “strove” (strive. )
几个小节逐步从童年青年走向老年和死亡，“strive”一词说明人在年盛往往不珍惜生命。&/p&&p&&b&I Felt a Funeral in my Brain&/b&&/p&&p&The speaker descents into madness, experiencing the
loss of self in the chaos of unconsciousness. The metaphor of funeral is to
represent the speaker’s sense that part of her is dying. 幻想一场葬礼，然后诗人本人也逼近死亡。&/p&&p&&b&I heard a Fly Buzz—When I Died--&/b&&/p&&p&Death is a part of whoever’s life, and life may
continue after death. Flies are often associated with death and decay. In the
room there is no God, heaven or any angel, but there is a fly’s noise and the
color blue. This gives the reader an inside look into the final moments of
death from someone who is already dead. 把苍蝇的意象和死亡的主题联系在一起。作者呈现的是人弥留之际的瞬间所见，细思恐极的是，空荡荡的房间只有一只苍蝇，以及一片模糊的蓝色。&/p&&p&（P.S.从第二、三、四首诗可以看出诗人有很严重的狂想症，I saw,
I felt, I heard...）&/p&&p&&b&3、&/b&&b&Willa Cather维拉凯瑟 ()&/b&&/p&&p&一提维拉凯瑟很多人想到的是O
Pioneers, 我记得当时课本里学的是One of Ours，她的小说以西部拓荒和原始自然为题材和话题。但除了是小说家，她早先是以诗人的身份迈进文坛的。在此推荐这个集子&b& April Twilights and Other Poems&/b&：&/p&&br&&figure&&img src=&http://pic3.zhimg.com/fd9efed4da09c62_b.jpg& data-rawheight=&3264& data-rawwidth=&2448& class=&origin_image zh-lightbox-thumb& width=&2448& data-original=&http://pic3.zhimg.com/fd9efed4da09c62_r.jpg&&&/figure&&b&Neighbour Rosicky&/b&&p&&b&The Sculptor's
Funeral&/b&&/p&&p&再加一首 &b&Arcadian Winter&/b&&br&&figure&&img src=&http://pic3.zhimg.com/448e1feaeba8b956df4763ddb6b79a7a_b.jpg& data-rawheight=&3264& data-rawwidth=&2448& class=&origin_image zh-lightbox-thumb& width=&2448& data-original=&http://pic3.zhimg.com/448e1feaeba8b956df4763ddb6b79a7a_r.jpg&&&/figure&&b&4. Amy Lowell ()&/b&&/p&&p&&b&The Captured Goddess&/b&&/p&&p&&b&Venus Transiens&/b&&/p&&p&&b&Madonna of the Evening
Flowers&/b&&/p&&p&&b&September, 1918&/b&&/p&&p&&b&St. Louis&/b&&br&&/p&&p&&b&第五部分—— &/b&&b&现代主义（&/b&&b&20th century&/b&&b&）&/b&&/p&&p&1）20世纪的关键词是意象主义（Imagism）、迷惘的一代（Lost Generation）还有现代主义。&/p&&p&2）美国文学的现代主义特指20世纪初的几十年，特别是两次世界大战之间。Modernism deliberately
and radically sought to break with conventional notions and the established
norm, experimenting with new, shocking modes to reflect and to capture the
harsh reality. Modernists were keen on disjunctive narratives, surreal
images and incoherence.现代主义的特点就是反叛传统和文学标准，进行大量的文学实验，以反映绝望的现实。作品多为碎片、断章、超现实。&/p&&p&3）Catastrophes and trauma of the wars shook
faith in western civilization and idealism. The prevailing sense of
&u&&b&disillusionment&/b&&/u& found its way in to American literary works, which became more
and more &u&&b&cynical&/b&&/u& and tended to explore the darker sides of human nature. 关键词
创伤、破灭、愤怒、文明的动摇。&/p&&p&4）现代主义的标志：T. S. Eliot
的 “&b&The
Waste Land&/b&”, 20世纪美国最重要的一首诗, helped to establish a modern tradition of literature rich with
learning and allusive thought. 荒原意象成为了典故，在其他文学作品中常见。&/p&&p&&b&1&/b&&b&、&/b&&b&Robert Frost 罗伯特·弗罗斯特()
&/b&&b&自然主义诗人&/b&（略滞后于时代？）&/p&&p&诗歌特点和内容：&/p&&p&(1)rejected the revolutionary poetic principles of his contemporaries, choosing instead “the old-fashioned way to be new.” He employed the plain speech of rural New Englanders and preferred the short, traditional forms of lyric and narrative.拒绝潮流下流行的诗歌改革，坚持自然主义（与大时代不同），坚持以传统方式出新。常写新英格兰一带的风物，格律和叙事法是传统的。&/p&&p&(2)He saw nature as a storehouse of analogy and symbol. 大自然的搬运工。&/p&&p&(3)His concern with nature reflected deep moral uncertainties, and his poetry, despite all the apparent simplicity, often probes mysteries of darkness and irrationality in the bleak and chaotic landscapes of an indifferent universe where men stand alone, unaided and perplexed. 弗罗斯特对自然有着两可的矛盾态度，而且有很强的神秘感和不确定性。自然常常与道德和情感相连，探讨黑暗和非理性的隐秘世界。&/p&&p&a national bard美国民族诗人的翘首, 赢得四次普利策奖.&/p&&p&单子：&/p&&p&&b&First poetry book: A Boy’s W&/b&&/p&&p&&b&Second volume: North of Boston.&/b&&/p&&p&&b&“The Road Not Taken” 未选择的路&/b&&/p&&p&Compares life to a journey, and he is doubtful whether he will regret his choice or not when he is old, because the choice has made all the difference. The road not taken symbolizes that he chose a solitary life.&/p&&p&Individualism is highlighted, choosing his own way. “morning”symbolizes new beginning.&/p&&p&&b&“Stopping by Woods on a Snowy Evening”雪夜驻足林中&/b&&/p&&p&人与自然间神秘的关系。有时读来细思恐极，自然仿佛是可怕的存在。&/p&&p&&b&“Mending Wall” 修墙&/b&&/p&&p&探讨现代的邻里关系和人微妙的心理。&/p&&p&&b&2.Ezra Pound &/b&&b&埃兹拉&/b&&b&.&/b&&b&庞德()&/b&&/p&&p&一个懂中文和日文诗歌，常常翻译成英文诗的诗人。意象主义的集大成者。Pound and Eliot became the early leaders in restoring to
poetry the use of literary reference as an imaginative instrument.&/p&&p&单子：&/p&&p&&b&In a Station of the Metro&/b&《在地铁站》&/p&&p&Imagism method 的代表作. Beautiful faces contrast the the
emotion came out not in words but in colors. The poem attempts record the
precise instant when a thing outward and objective transformed itself into sth
inward and subjective in imagination. 善于捕捉瞬间意象和灵感。&/p&&p&这首诗的点睛之笔在于“apparition”这个词。means
a ghostly figure, strange and unusual that suddenly comes in to view. It
enables the poem to convey the expression of shock and awe when stepping into
the station.&/p&&p&&a href=&http://www.zhihu.com/people/chen-xi-91-95/answers& class=&internal&&将外国的诗翻译成中文后还有去读的价值么？-陈小圆的回答&/a& 这首和下面这首长干行在我这个回答里有详述。&br&&/p&&p&&b&The River-Merchant’s Wife: A Letter&/b& 《长干行》（就是李白那首）&/p&&p&Marriage is not a personal choice at first, but later she loves him.&br&&/p&&p&&b&A Pact&/b& 《公约》&/p&&p&公约是指和惠特曼达成的约定。Agreement with
Whitman, showing complicated feelings towards his American literary heritage.
既是向惠特曼致敬，也是标榜自己在美国文学界独立地位的宣言。&/p&&br&&p&&b&“The Cantos&/b&&b&”&/b& 《诗章》&/p&&p&major work of poetry is this long
poem.&/p&&p&&b&3、Wallace Stevens 华莱士·史蒂文()&/b&&/p&&p&不是那个华莱士！不是那个华莱士！不是那个华莱士！&/p&&p&1）His work is primarily motivated by the belief that “ideas of order,” correspond with an innate order in nature and universe。“规则”“理性”“有序”的世界。&/p&&p&2）He tries to&u& reconstruct&/u& the meaningless world through arts and use of imagination, opposed to T.S.Eliot’s pessimism. 与主导时代的艾略特的诗歌理念相悖，主张以奇特的想象重建理性世界，而不认为现代世界是一片荒原。&/p&&p&特点：(1)he adopted a variety of experimental styles, created poetic surfaces of Frenchified elegance, exotic imagery, odd sounds, curious analogies, and inscrutable titles.尝试过多种实验性的写作风格,比如异国意象，奇怪的声响、比喻，奇特的标题等等。&/p&&p&(2)he confronted the contemporary abandonment of traditional values and sought to come to terms with the confusions of his time. The problem of the interrelation between the ideal and the real became a constant theme in his later poetry.理想和现实中所交叉的矛盾。&/p&&p&(3)a series of oppositions between inner and outer worlds – between subject and object, perceiver and perceived, fiction and fact, “imagination and reality”(想象与现实)&/p&&p&单子（都是奇特的标题）：&/p&&p&&b&The Man with the Blue Guitar《带蓝吉他的人》；&/b&&/p&&p&&b&Necessary Angel《必要的天使》，collection of his occasional lectures on poetry诗歌评论，published book of poems:&/b&&/p&&p&&b&Harmonium 《风琴》&/b&&/p&&p&&b&Opus Posthumous:&/b& uncollected works.&/p&&p&&b&Anecdote of the Jar 《坛子轶事》&/b&&/p&&p&jar =man-made = art, wildness = nature. jar bring order/meaning to the nature. Nature is in disorder until ideas and imagination of art makes it united as a whole. 自然是原始、野性、无序、没有理性的，但人力（如艺术）可以构建有序。&/p&&p&&b&The Emperor of Ice-cream 《冰淇淋皇帝》&/b&&/p&&p&华莱士本人最爱的一首。充满了特立独行的生僻的意象和象征。色情的冰淇淋，叼着雪茄的壮汉，绣着鸽子的床单，掉了3个把手的木柜，旧报纸包着的鲜花，看似毫无逻辑的堆砌，生的甜美短暂，死的沉默永恒。实际是一幅众生相。艾略特认为想象的虚和现实的真永远无法调和。所以，华莱士的诗往往是一些比较震撼的混搭组合。&/p&&p&&b&Peter Quince at the Clavier 《彼得昆士弹琴》&/b&&/p&&p&善于捕捉瞬间的美。beauty is momentary in mind&/p&&p&&b&Collected Poems 《诗集》&/b& National Book Award and Pulitzer Prize&/p&&p&&b&4、&/b&&b&William Carlos
()&/b&&/p&&p&&b&The Young Housewife&/b&&/p&&p&&b&Portrait of a Lady&/b&&/p&&p&&b&Queen-Anne's-Lace&/b&&/p&&p&&b&The Widow's Lament in Springtime&/b&&/p&&p&&b&Spring and All&/b&&/p&&p&&b&To Else&/b&&/p&&p&&b&The Red Wheelbarrow&/b&&/p&&p&&b&This is Just to Say&/b&&/p&&p&&b&A Sort of a Song&/b&&/p&&p&&b&The Dance&/b&&/p&&p&&b&Burning in the Christmas Greens&/b&&/p&&p&&b&Lear&/b&&/p&&p&&b&5.Marianne Moore()&/b&&/p&&p&&b&单子：&/b&&/p&&p&&b&The Paper Nautilus&/b&&br&&/p&&p&&b&The
Mind is an Enchanting Thing&/b&&/p&&p&&b&In Distrust of Merits&/b&&/p&&p&&b&O to be a Dragon&/b&&/p&&br&&p&&b&Poetry
见这个回答&b&&a href=&http://www.zhihu.com/question//answer/& class=&internal&&Marianne Moore 说“诗是一座花园，里面有真正的蛤蟆”，怎么理解？ - 陈小圆的回答&/a&&/b&&/p&&p&&b&&u&6、&/u&&/b&&b&&u&Thomas Stearns Eliot&/u&&/b&&b&（）&/b&艾略特，现代主义代言人&/p&&p&(1) concerns various aspects of the frustration and enfeeblement of individual character as seen in perspective with the decay of states, peoples, and religious faith.触及人性中的软弱沮丧的弱点，正确思索了国家、人民、宗教信仰等的丧失。&/p&&p&(2)poem conceived as a made object, an organic thing in itself, whose concrete elements are true correlatives of the artist’s imagination and experience with respect to that poem.诗歌是客观成型的东西，诗歌的具体元素与艺术家的想象和经历密切相关，也与诗歌相一致。&/p&&p&(3)The degree to which fusion and concentration of intellect, feeling, and experience were achieved was Eliot’s criterion for judging the poem.知识、情感、体验的融合与集中程度是判定诗歌好坏的标准。&/p&&p&单子：&/p&&p&“&b&The Love Song of J. Alfred Prufrock&/b&”
J.艾尔弗雷德·普鲁弗洛克的情歌&/p&&p&holds its place in the development of Eliot’s poetry as a whole.&/p&&p&Prufrock is a defeated idealistic man, tortured by
unsatisfied desires. Inability to live a meaningful life. Modern men’s
typically lack of stepping forward, while good at empty thinking. &u&Frustration
and impotence&/u& of the modern individual. 看似是失落的情歌，实则是现代人作为人的整体的挫败感。现代人脆弱、空想的无力感。&/p&&p&
“&b&The Waste Land&/b&” 荒原
（被吐槽到无尽躺枪的一首诗）&/p&&p&It concerns the
spiritual crisis of the postwar Europe of the 1920s. Collapse of civilization
and spiritual breakup, disillusion and frustration of modern world. It emphasizes
death and rebirth through the quest for regeneration.战后西方文明的危机与没落，现代人的绝望和幻灭。&/p&&p&It is a contrast in
time between sordid modern life set and memories of the glorious past. It also
demonstrates contrasts in life and death, fertility and sterility, love and
lust, reality and imagination with a circular pattern.
艾略特什么典故都知道，从希腊神话到莎士比亚，从古印度名言到日本都市传说。宏大的历史感以呈现文明的演变。&/p&&p&
“&b&Four Quartets&/b&”《四个四重奏》&/p&&p&last important work&/p&&p&&b&7、&/b&&b&Ernest Hemingway &/b&&/p&&p&&b&海明威诗集 “Collected Poems”（1983）&/b&&b&&a href=&http://www.zhihu.com/question//answer/& class=&internal&&《送给一个刚过完21岁生日的女孩的几句话》 谁有海明威的这首诗？ - 陈小圆的回答&/a&&/b&&/p&&p&(1)海明威不喜欢用形容词。诗歌同样，简洁有力，但很晦涩。&/p&&p&(2) His primary concern was an individual’s “moment of truth,” and his fascination
with the threat of physical, emotional, of psychic death is reflected in his
lifelong preoccupation with stories of war.主题强调换个体“真理的瞬时性”，痴迷于描写肉体情感方面面临的威胁和心灵死亡等主题。&/p&&p&
(3) Man’s greatest achievement is to show &u&grace under pressure&/u& 人的终极使命&/p&&p&《诗集》一共88首，书的结尾有彩蛋。&/p&&p&&b&第六部分——&/b&&b&后现代主义&/b&&/p&&p&后现代主义有很多新生技巧和特点，诗歌里有体现的大概是这几个：&/p&&p&&b&game of world 游戏&/b&： 这有个小故事。美国文学用的是教授自己写的教材，教授出书的时候跟编辑反复交代是“game of world”,
不是“game of word”，不是笔误，结果审稿的编辑还是非常尽责地“校对了错字”。including multilingual puns, anagrams, wordplay and language games. The purpose is to invite reader to participate the games, feeling pleased in the course of trying to go out of the labyrinthine.&br&&/p&&p&&b&Intertexuality互文: &/b&correlative relationships between texts. 例如纳博科夫的《微弱的光》中 Shade的诗 和 Kinbote的评论, 本是不相关的但却并置在一起. juxtaposition of the two texts of different genres and embodying hybridization.&/p&&p&&b&Parody戏仿&/b&: 还是《微弱的光》里，Shade的诗是对亚历山大蒲柏的诗的明显戏仿“An Essay on Man”, written also in heroic couplet and discussing the meaning of life. But the difference is, Pope is rather philosophical while Shade is rather romantic, solving problems in the subjective way of looking back on personal experiences.&/p&&p&&b&1. Elizabeth Bishop ()&/b&&/p&&p&&b&The Unbeliever&/b&&/p&&p&&b&The Fish&/b&&/p&&p&&b&The Armadillo&/b&&/p&&p&&b&Sestina&/b&&/p&&p&&b&In the Waiting Room&/b&&/p&&p&&b&The Moose&/b&&/p&&p&&b&One Art&/b&&/p&&p&&b&2.Charles Olson 查尔斯·奥尔森()
黑山派（Black Mountain Poet）。&/b&&/p&&p&单子：&/p&&p&&b&The Kingfishers:&/b&&/p&&p&最出名的诗句 “what does not change is the will to change” as the motif（主旨）.&/p&&p&记叙了二战后几大改变世界的事，特别是Mao’s triumph in C nuclear bomb in Japan， 表现的是现代人对Unpredictable change的恐惧感。&/p&&p&&b&Maximus to Gloucester, Letter 27[withheld]: memories from childhood&/b&&/p&&p&怀旧及cynical。&/p&&p&&b&3.&/b&&b&Robert Lowell() 罗伯特·洛维尔 自白派诗人&/b&&/p&&p&Confessional poetry: deals with total new subjects: people’s feelings about death trauma, depression and relationships, written in autobiographical manner. Changed the American poetry landscape: change to focus on personal experience. 后现代更关注个人的内心，于是有了自白派，改变了美国诗歌的面貌。&/p&&p&单子：&/p&&p&&b&For the Union Dead&/b&&/p&&p&经过两次大战人们早已对战争抱有厌恶和不理解的心情。Shaw将军的光荣与牺牲已不被认可。the past idealism and heroism. Colonel Shaw’s self-sacrifice is not understood by modern people.&/p&&p&civil right movement, racial problem, bomb, 诗串联了民权运动、种族主义、核武器、世界末日等大事，展现现代危机。&/p&&p&&b&Skunk Hour&/b&&/p&&p&写一个人疯狂地飙车 lack of communication.&/p&&p&总体表现的是 isolation。现代人生活的孤独和隔离感。&/p&&p&&b&4. Sylvia Plath ()&/b&&/p&&p&&b&Morning Song&/b&&/p&&p&&b&Lady Lazarus&/b&&/p&&p&&b&Daddy&/b&&/p&&p&&b&Blackberrying&/b&&/p&&p&&b&Child&/b&&/p&&p&——————————————————————————&/p&&p&先写这么多。&/p&&br&&p&来这些地方找我玩哦：&/p&&p&1.微信公众号：Dr_Yuuan&/p&&p&2.Instagram: xicheniris &a href=&http://link.zhihu.com/?target=https%3A//www.instagram.com/xicheniris/& class=& wrap external& target=&_blank& rel=&nofollow noreferrer&&https://www.http://instagram.com/xicheniris/&/a&&/p&
应@ 谭酸菜 之约，po一个单子，回应和补充老谭的专栏文章： 。其实也不敢说补充，而且这个单子脱胎自大三美国文学这门课上下学期读过和提过的诗歌，所以我只是个回忆的搬砖者，部分加了中文翻译。这个单子（包括后…
&figure&&img src=&https://pic4.zhimg.com/b200ea95ec2_b.jpg& data-rawwidth=&700& data-rawheight=&467& class=&origin_image zh-lightbox-thumb& width=&700& data-original=&https://pic4.zhimg.com/b200ea95ec2_r.jpg&&&/figure&&p&本篇以时间轴形式，概述了四百年来美国文学史上108位重要的作家及其文学作品。美国文学爱好者和初学者可按此时间轴择选而读。粗体部分为我个人认为比较值得pay more attention的作家/作品。欢迎指正与修订~O(∩_∩)O~&/p&&p&1、&strong&Benjamin Franklin (&/strong&&strong&)&/strong&&/p&&ul&&li&&strong&A Modest Inquiry into the Nature and Necessity of a Paper Money&/strong&&br&&/li&&li&&strong&Poor Richard’s Almanack&/strong&&br&&/li&&li&&strong&The Way to Wealth&/strong&&br&&/li&&li&&strong&The Autobiography&/strong&&br&&/li&&/ul&&p&2、&strong&Thomas Paine (&/strong&&strong&)&/strong&&/p&&ul&&li&&strong&The Case of the Officers of Excise&/strong&&br&&/li&&li&&strong&Common Sense&/strong&&br&&/li&&li&&strong&American Crisis&/strong&&br&&/li&&li&&strong&Rights of Man&/strong&&br&&/li&&li&&strong&Downfall of Despotism&/strong&&br&&/li&&li&&strong&The Age of Reason&/strong&&br&&/li&&/ul&&p&3、Philip Freneau ()&/p&&ul&&li&The Rising Glory of America&br&&/li&&li&The British Prison Ship&br&&/li&&li&&strong&To the Memory of the Brave Americans&/strong&&br&&/li&&li&The Wild Honeysuckle&br&&/li&&li&The Indian Burying Ground&br&&/li&&/ul&&p&4、&strong&Washington Irving (&/strong&&strong&)&/strong&&/p&&ul&&li&&strong&A History of New York&/strong&&br&&/li&&li&The Sketch Book&br&&/li&&li&&strong&The Legend of Sleepy Hollow&/strong&&br&&/li&&li&Bracebridge Hall&br&&/li&&li&Talks of Travellers&br&&/li&&li&The Alhambra&br&&/li&&/ul&&p&5、James Fenimore Cooper ()&/p&&ul&&li&The Spy&br&&/li&&li&The Pilot&br&&/li&&li&The Littlepage Manuscripts&br&&/li&&li&Leatherstocking Tales&br&&/li&&li&The Pioneer&br&&/li&&li&The Last of Mohicans&br&&/li&&li&The Prairie&br&&/li&&li&The Pathfinder&br&&/li&&li&The Deerslayer&br&&/li&&/ul&&p&6、William Cullen Bryant ()&/p&&ul&&li&The Poems（ Poems）&br&&/li&&li&&strong&To a Waterfowl&/strong&&br&&/li&&li&Thanatopsis&br&&/li&&li&The Whitefooted Deer&br&&/li&&li&A Forest Hymn&br&&/li&&li&The Flood of Years&br&&/li&&/ul&&p&7、&strong&Edgar Allan Poe (&/strong&&strong&)&/strong&&/p&&ul&&li&&strong&Tales of the Grotesque and Arabesque&/strong&&br&&/li&&li&&strong&Tales&/strong&&br&&/li&&li&&strong&The Fall of the House of Usher&/strong&&br&&/li&&li&&strong&Ligeia&/strong&&br&&/li&&li&&strong&Annabel Lee&/strong&&br&&/li&&li&&strong&Tamerlane and Other Poems&/strong&&br&&/li&&li&&strong&Al Araaf,Tamerlane and Minor Poems&/strong&&br&&/li&&li&&strong&The Raven and Other Poems&/strong&&br&&/li&&li&The Raven&br&&/li&&li&The City in the Sea&br&&/li&&li&Israfel&br&&/li&&li&To Hellen&br&&/li&&/ul&&p&8、&strong&Ralf Waldo Emerson (&/strong&&strong&)&/strong&&/p&&ul&&li&&strong&Essays&/strong&&br&&/li&&li&&strong&Nature&/strong&&br&&/li&&li&&strong&The American Scholar&/strong&&br&&/li&&li&&strong&Divinity&/strong&&br&&/li&&li&&strong&The Oversoul&/strong&&br&&/li&&li&&strong&Self-reliance&/strong&&br&&/li&&li&&strong&The Transcendentalist&/strong&&br&&/li&&li&Representative Men&br&&/li&&li&English Traits&br&&/li&&li&School Address&br&&/li&&li&Concord Hymn&br&&/li&&li&The Rhodo&br&&/li&&li&The Humble Bee&br&&/li&&li&&strong&Days&/strong&&br&&/li&&