81. 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.

82. 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.

83. These differences include the bolder and more forthright speech of the later generation and its technical inventiveness.

84. 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.

85. 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.

86. 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.

87. 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?

88. 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!
88、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。

89. 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.

90. 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.