So, Salinger imagines that the literary art imitates that kind of voice, and in that way it is a sacred practice, a sacred art.

所以，Salinger将文学艺术,比作那种声音，在那种情况下,文学是一种神圣的做法，是神圣的艺术。

耶鲁公开课 - 1945年后的美国小说课程节选

It's important for Salinger that Shakespeare was a dramatist.

对，Salinger重要的是，莎士比亚是个剧作家。

耶鲁公开课 - 1945年后的美国小说课程节选

But, I would suggest to you, Salinger is trying to balance something very carefully, that relates back to this question of doctrine versus syncretism in the religious sphere of the novel, in the religious thematic material of the novel.

但是我提醒你们，Salinger，小心的平衡某个东西,那和之前的问题有关,关于小说里宗教范畴里的教条和宗教融合的比较，也是在小说里的宗教主题材料里的比较。

耶鲁公开课 - 1945年后的美国小说课程节选

And so, I would argue to you that Salinger imagines literature as a performance of this kind, a performance of a language of family love that is nevertheless also an aesthetic language.

所以，我认为Salinger想象的文学,作为这种家庭里爱的语言的表现,那至少也是充满美感的语言。

耶鲁公开课 - 1945年后的美国小说课程节选

So, what Salinger, I think, shows us is that affectation, without something like love, is just affectation, and that's what Lane represents. That's the affectation of literature without any human connection.

所以，Salinger向我们展示的是，这种娇柔做作，不像是喜爱只是娇柔造作，那也是莱恩代表的，那个文学的矫揉造作,并没有任何的与人的联系。

耶鲁公开课 - 1945年后的美国小说课程节选