法国象征主义与波德莱尔和戴望舒联系密切,两者诗论的比较研究有助于探微中法文明交流互鉴和文学传统碰撞交融。文章将从比较诗学的视角,在诗的本体、艺术真实和可译性三个层面探究两者诗论的异同和原因。研究发现,首先,两位诗人是在艺术和道德此消彼长的关系中探讨诗的一般性本质,构建了美学–伦理的经验范式;其次,两者重表现轻再现,将摄影从诗学中放逐,但在真实和想象的关系上产生分歧;最后,他们谈及广义上的“诗”和“翻译”,以相似性跨越艺术形式的边界,承认“诗”的可译性,但是在可译性来源上产生分歧:波德莱尔认为其源于普遍相似性,延续浪漫派的“普遍可译性”,戴望舒认为其源于情绪的相通性,这是一种奈达式功能对等的忠实观。Both Baudelaire and Dai Wangshu are closely associated with French symbolism. The comparative study of their poetic theories offers profound insights into the intercultural dialogue and literary encounters between Sino-French civilizations. This study, adopting a comparative poetics approach, delves into the similarities, disparities and reasons in their theories across three dimensions: ontology of poetry, artistic verity, and translatability. The analysis reveals that firstly, the poets explore the general essence of poetry within the dichotomy of art and morality, constructing an aesthetic-ethical empirical paradigm. Secondly, they prioritize representation over reproduction, exclude photography from poetic, but diverge on the relationship between verity and imagination. Lastly, they discuss “poetry” and “translation” in a broader sense, traverse the boundaries of artistic forms with similarity, and acknowledge poetry’s translatability while disagreeing on its source: Baudelaire posits it originates from universal similarity, extending the Romantic school of “universal translatability”;whereas Dai sees it rooted in emotional resonance, embodyi
