But somewhere from the 19th century onward, more artists began seeing happiness as meaningless, phony or, worst of all, boring, as we went from Wordsworth's Daffodils to Baudelaire's Flowers of Evil.

但从19世纪某个时间点开始，更多的艺术家开始认为幸福毫无意义，是虚假的，最糟糕的是有人认为它很无趣，就像我们从华兹华斯的《咏水仙》到波德莱尔的《恶之花》中读到的一样。

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However the cost of his romance was tremor, terror and pains in the heart. This novel makes readers see that the original nature of youth is a cruel poem and a bunch of beautiful, but evil flowers.

然后这浪漫的代价却是战栗、恐惧与锥心的痛：小说使人看到青春的本相是残酷的诗，是一丛华丽的恶之花。

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