波德莱尔

But somewhere in the 19th century, more artists began seeing happiness as false, or worst of all, boring as we learnt from Wordsworth's works to Baudelaire' s.

但在19世纪，更多的艺术家开始觉得快乐是假的，或者更糟的是，当我们学会从华兹华斯在无聊的工作。波德莱尔

Jen realizes that she has no idea who Baudelaire is since she's spent so much time in front of the TV lately and not as much time "broadening her horizons," as she puts it.

仁意识到，她不知道是谁波德莱尔是因为她的花费在看电视真人秀最近，而不是那么多时间"扩大她的视野，"她如是说。

Obviously ,he was affected by Baudelaire's Ferocity Flowers .In the choice of poem tastes , Most of his writings are facing to the frightful side of life .and he created many evil imagoes ,such as cadavers、dull bones 、bloodiness, muddiness、hungriness and dead leaves.

其作品很明显的受到了波德莱尔《恶之花》的影响，在诗歌审美对象的选择上，多数的诗都是面向生活中的丑恶面，大量营造死尸、枯骨、血污、寒夜、泥泞、荒漠、死叶等丑恶的意象，带有明显的"以丑为美"、"从恶中发掘美"的美学倾向。

Fu : Besides the strawberries and cakes, you have drawn something like evilness, sweetness, mundane and coquettishness, they are all ruined, or destroyed, or decayed, but the result of their destruction is making them of more pretty, beyond the original state intact, out of which produced another sense of beauty, just like "Les Fleurs du Mal" by Charles Baudelaire

付晓东：包括草莓、蛋糕，你画了一些邪、甜、俗、媚的东西，它们遭到了破坏，被毁坏，腐烂，但是这个毁坏的结果是使它变得更艳丽，超越原来完好无损的本身，另一种美感，就像波德莱尔的《恶之花》。

Baudelaire's 19th century literary archetype the flaneur, the 'hero' of modernity who peregrinated the streets of a rapidly changing Paris, was characterised as a 'perfect idler' and 'passionate observer', always standing at a distance from society but inextricable from the teeming masses.

十九世纪文学中，波德莱尔所描述的"游荡者"是现代主义的"英雄"，他漫游在巴黎不断变化的大街小巷，被世人称为一个"完美的游手好闲者"和"激情的观察者"。他与社会保持着距离，可是不能完全脱离社会人群。

One aspect of the visual is its relative standoffishness (which offended Lawrence and pleased Baudelaire), and I've written about that in a poem called The Eye.

视觉意象的一个特点是较少带感情色彩（这种冷漠让劳伦斯生气让波德莱尔高兴），我的《眼光》一诗就是以此为主题的。

Symbolist poets LI Jin-fa and Baudelaire have shown in their poems the major character of melancholy.

象征主义诗人李金发与波德莱尔在他们的诗歌中均表现出忧郁这一重要特征。

Benjamin's Elaboration on the Task of the Translator In his essay "The Task of the Translator," which serves as a preface to his own translation of Baudelaire's Tableaux Parisiens in 1923, the German philosopher and cultural critic Walter Benjamin elaborates on his own idiosyncratic definition of the role of a translator.

本杰明的阐述任务的译者在他的论文"任务的译者，"这是一个他自己的序翻译波德莱尔的Tableaux巴黎于1923年，德国哲学家和文化评论家本雅明阐述了他自己特有的定义，作用一个翻译。

Seen in this light, Baudelaire's modernity anticipated the anti-auratic,"ugly"aesthetics of Dadaism.

从这一角度来看，波德莱尔的现代性预示出达达主义反光晕的&丑陋&的美学。

According to the analogy, sudden stimulation from the object of desire—Baudelaire's imperious desire—convulses the "I" much as a fly would the eye.

由此类推，由欲望之物的突然刺激-----波德莱尔专横的欲望，搅动了&我&就如同苍蝇吸引了眼球的注意一样。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。