And so on. I have chosen this poem to illustrate my first proposition, because it happens to be a poem in which the poem itself is immediately recognizable without reference to the manner in which it is rendered. If the style and the poem are one, one ought to choose, for the purpose of illustration, a poem that illustrates this as, for example, Yeats’ “Lake Isle of Innisfree.” To choose a French poem which has to be translated is to choose an example in which the style is lost in the paraphrase of translation. On the other hand, Baudelaire’s poem is useful because it identifies what is meant by the poem itself. The idea of an earlier life is like the idea of a later life, or like the idea of a different life, part of the classic repertory of poetic ideas. It is part of one’s inherited store of poetic subjects. Precisely, then, because it is traditional and because we understand its romantic nature and know what to expect from it, we are suddenly and profoundly touched when we hear it declaimed by a voice that says:

中文翻译：

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两个或三个想法：卷。13、1951年10月第7期

等等。我选择这首诗来说明我的第一个命题，因为它恰好是一首诗，在这首诗中，无需参考它的呈现方式，就可以立即识别出这首诗。如果风格和诗是一体的，为了说明的目的，应该选择一首说明这一点的诗，例如叶芝的“茵尼斯弗里湖岛”。选择一首必须翻译的法语诗歌，就是选择一个例子，在这个例子中，翻译的意译中失去了风格。另一方面，波德莱尔的诗很有用，因为它确定了诗本身的含义。早年的想法就像晚年的想法，或者像不同的生活的想法，是诗意思想的经典曲目的一部分。它是一个人继承的诗歌主题储备的一部分。那么准确地说，