英语翻译海明威是一个拿着板斧的人,力求砍去遮住读者视线的一切障碍,把并不代表大树本身的叶子砍去,给读者一个基本枝干的清爽

英语翻译
海明威是一个拿着板斧的人,力求砍去遮住读者视线的一切障碍,把并不代表大树本身的叶子砍去,给读者一个基本枝干的清爽的面目.这样可以把作者,读者和描写对象之间的距离缩短到最低限度,这种文体“引起了一场文学革命”

我发给你电子版,你自己看吧,原版：
THE MODERN SHORT STORY A CRITICAL SURVEY
H.E.BATES
What is that method Why did it cause a revolution
In the first place Hemingway was a man with an axe.
For generations—it might almost be said for a hundred
years or more—written English had been growing
steadily more pompous,more prolix,more impossibly
parochial; its continuous tendency had been towards
discussing and explaining something rather than projecting
and painting an object.It carried a vast burden
of words which were not doing a job,and it was time,
at last,to cut those words away.In the 'nineties Samuel
Butler too had arrived with an axe,but it was an axe
less against English writing than against English morality,
and Butler had never dramatized the conflict except in
a single book.Hemingway,looking back over what
still purports to be the great age of the English novel,
must have been struck by an interesting fact,of which
there are most notable examples in Hardy.He must
have been struck by the fact that out of the cavernous
gloom of explanations,discussions,social dilemmas,and
philosophizings all that emerged of permanent interest
and value were the scattered bright scraps of pictorial
narrative.In one generation the philosophy had grown
mouldy,the social dilemmas were forgotten for others,
the moral currency had been changed.But the people,
the narrative action,the colour of scenes,remained,and
could,if properly conceived and painted,never fade.So
what one remembers out of Hardy,for example,is not
the philosophic vapourings or the spiritual anguish,all
impossibly unreal to-day,but the sharp bright scenes that
have been painted by a man with his eye on the object—
the pig-sticking in Jude,Tess working in the winter
turnip field,Tess praying with the children,the man
selling his wife in The Mayor of Casterbridge.No changing
currency of social and moral action changes these;
nothing can come between them and countless generations
of readers.
What Hemingway went for was that direct pictorial
contact between eye and object,between object and
reader.To get it he cut out a whole forest of verbosity.
He got back to clean fundamental growth.He trimmed
off explanation,discussion,even comment; he hacked
off all metaphorical floweriness; he pruned off the dead,
sacred cliches; until finally,through the sparse trained
words,there was a view.
The road of the pass was hard and smooth and not
yet dusty in the early morning.Below were the hills
with oak and chestnut trees,and far away below was
the sea.On the other side were snowy mountains.
基本肯定是这一段,书里还是有前后文的.