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　　当一场新的艺术运动形成某种时尚时，理应弄清其倡导者的目标所在，因为无论他们的主张在今天看来是多么牵强附会、不可思议，将来都有可能被视为正常的。然而，就未来派诗歌而言，情况却相当不同，因为无论未来派诗歌为什么——即使承认其理论根据可能正确——也很难称之为文学。

　　简而言之，未来派诗人宣称：一个世纪以来，过去的生活一直在有条件地急剧变化。现在，我们生活在一个充斥着喧嚣、暴力和快节奏的世界之中。因此，我们的感情、思想和情绪都经历了相应的变化。未来派诗人声称，这种加速的生活节奏需要一种新的表达形式。如果我们想诠释现代生活的压力，就必须加快文学发展的步伐。我们必须大量使用基本词汇，摆脱句号，修饰性形容词及限定动词的约束。我们不应描绘声音，我们必须造出模仿声音的词语；我们必须在同一张纸上使用不同型号和不同颜色的墨水，任意缩短或加长词语。

　　他们对战斗的描述确实让人很难理解。但是读到一句描写战斗的诗行的注解时，就令人感到不舒服了，注解中说该诗描写了一名土耳其军官和一名保加利亚军官在一座桥上发生了搏斗，结果双双从桥上掉进河中——结果，诗句把他们两人落水的声音和体重写在了一起：“扑通！扑通！185公斤。”

　　尽管这符合未来派诗歌的规则和要求，却很难被归入文学之列。实际上，没有一个善于思考的人会拒绝接受他们的第一个观点：即情感生活的巨大变化要求表达方式也随之变化。实际问题是：我们真的发生了根本上的变化吗？

　　Passage 4

　　Aimlessness has hardly been typical of the postwar Japan whose productivity and social harmony are the envy of the United States and Europe. But increasingly the Japanese are seeing a decline of the traditional work-moral values. Ten years ago young people were hardworking and saw their jobs as their primary reason for being, but now Japan has largely fulfilled its economic needs, and young people don’t know where they should go next.

　　The coming of age of the postwar baby boom and an entry of women into the male-dominated job market have limited the opportunities of teen-agers who are already questioning the heavy personal sacrifices involved in climbing Japan’s rigid social ladder to good schools and jobs. In a recent survey, it was found that only 24.5 percent of Japanese students were fully satisfied with school life, compared with 67.2 percent of students in the United States. In addition, far more Japanese workers expressed dissatisfaction with their jobs than did their counterparts in the 10 other countries surveyed.

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