introduction

Dai Wangshu's poetry creation and translation achievements are remarkable. His poetic theory research is influenced by the French Symbolist Poetry School, emphasizing that "poetic sentiment" refers to the emotions of poetry, and believing that the rhythm of poetry lies in the ups and downs of emotions. This poetic view has influenced his translation practice, pursuing the translation of poetry into good poetry. Dai Wangshu criticized the problems in the contemporary Chinese poetry world, and the development of poetry theory and translation ideas over time. When translating 'The Flower of Evil' in the late stages of life, its thoughts and stance tended to stabilize, but still carried traces of various stages of thinking. The Flower of Evil "consists of six sets of poems, 24 of which were selected and translated by Dai Wangshu, and included in" The Flowers of Evil in English ". There are shortcomings in scholars' research on Dai Wangshu's translation, such as neglecting the influence of poetic views on translation views and insufficient discussion on the translatability of poetry. This article explores the influence of Dai Wangshu's poetry theory on translation activities, and how this influence interacts with Chinese new poetry and translation theory during the transition between old and new societies.

1、 Translation Style: Compromise of Content and Harmony of Form

The May Fourth New Literature Movement overthrew feudal morality and old literature, and the establishment of new poetry relied on the introduction of Western poetry. Hu Shi and others advocated free poetry and vernacular translation, but it appeared rough in art. The emphasis on formal correspondence in the regulated school has led to the depletion of content in new poetry. Dai Wangshu proposed the concept of "poetic sentiment", distinguishing between poetic sentiment and the form and content of poetry. He believed that new poetry should have new emotions and forms of expressing emotions, and should not be limited to new subject matter. His poetic views have influenced his translation philosophy. In his translation of 'The Flowers of Evil', he emphasizes poetic sentiment, chooses different translation strategies from his predecessors, and does not shy away from the influence of classical Chinese poetry. In terms of theme selection and translation, Dai Wangshu chose 24 poems from "The Flower of Evil", of which 8 presented a return to classical Chinese poetry, including themes of pastoral, love, and emotional attachment. In terms of cultural imagery rewriting, Dai Wangshu tends to naturalize and replace the imagery in French literary tradition with traditional imagery in Chinese classical poetry, in order to preserve reading fluency. His translation method is different from the "elegant translation" of "word translation", and his translations are elegant and vivid due to the participation of Chinese classical aesthetics. Dai Wangshu has a unique view on the relationship between the form and content of poetry, as well as poetic emotions. He believes that new poetry should have new emotions and forms to express these emotions. Form is not just the arrangement of words or the accumulation of new words. His translation strategy choices, choices and changes in content and form, and attitudes towards the new and the old revolve around poetic sentiment. In terms of content, Dai Wangshu believes that new poetic emotions can also be found in old things, and the application of old classical poetry in the process of writing and translating poetry is understandable. In terms of form, he opposes adapting the emotions of poetry to stagnant old patterns, and new poetry should have new emotions and forms to express these emotions. Dai Wangshu's attitude towards the issue of "whether poetry can be translated or not" has undergone development, but there is a consistent thinking that true poetry will always maintain its value in any language translation.

2、 Translation Ethics: Balancing Artistic and Realistic Values

In the first half of the 20th century, Chinese literary creation and translation were influenced by modern trends, and poetry was often endowed with utilitarian purposes, while its artistic value was ignored. Dai Wangshu opposes the trend of neglecting artistic value and believes that poetry with national defense consciousness and emotions can become good poetry, but it must be harmoniously matched with the form of poetry. His poetic views influenced his creation and translation, especially during the War of Resistance Against Japan. He felt a sense of social mission and linked national crisis with poetry creation, while expressing dissatisfaction with shallow and noisy poetry. When Dai Wangshu translated "The Flower of Evil" in the 1940s, he supported a broad perspective to evaluate Baudelaire and his works, avoiding their decadent, ugly, and indulgent aspects, and highlighting their resistance and intervention, innocence, and optimism. Among the 24 poems selected for translation, Dai Wangshu reflected the progressive direction of resistance and intervention through thematic selection and poetic translation. At the same time, he endowed exotic texts with a unique local color in the translation, expressing opposition to the authoritarian rule of the Kuomintang and support for the socialist cause. Dai Wangshu's selected and revised translations showcase the competition for mainstream status among different poetics and ideologies in modern and contemporary Chinese society, while refuting accusations that Baudelaire's works contain "toxins" and constructing a positive image for Baudelaire that is different from "decadence". When translating "The Flower of Evil", Dai Wangshu not only preserved the beauty of poetry, but also affirmed the poet's social responsibility, reflecting his equal emphasis on the artistic and practical value of poetry.

conclusion

Dai Wangshu's poetry theory and the translation of "The Flower of Evil" demonstrate the close connection between literature and translation, the guiding role of literary theory in translation practice, and the influence of translation activities on literary trends. The Flower of Evil in English "is a model of literary exchange between China and France. Dai Wangshu went from imitation to creation, Chinese old poetry continued in translated poetry, French poetic tradition was reborn in translated poetry, Chinese new poetry was born, and Chinese translation theory received new thinking. Dai Wangshu proposed the theory of "poetic sentiment", breaking through the binary structure and bringing new developments to poetry theory. His translation ideas are unique, with a style of "elegant translation", influenced by classical Chinese poetry in content, and emphasizing the reproduction of rhyme patterns in form, presenting a tendency towards foreignization and domestication. In terms of translation ethics, he emphasizes the responsibility of poets and translators to reproduce the artistic value of the original poem and explore the social utility of translated poetry. Dai Wangshu promoted the formation and development of modern mainstream Chinese poetics in poetry creation, poetic theory research, and translation.