值得提到的是，萨林斯的导论题目“恶之花”(flowers of evil)显然是对法国诗人波德莱尔（1857）的同名诗集的借用，而且在一些观念上也可以说是一种延续。
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...季 (John From Cincinnati Season 1), 无人爱我 ( Nobody Loves Me ),雨鳟之河 (The Hotel Venus), 恶之花 ( The Flower of Evil ),剧本卖出百万+《血色残阳》奇特诡异,热血忠魂之独行侍卫,巧设陷阱..
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These multi-dimensional images of women are trying to find expression and the overall complexity of human nature in Flowers of Evil. The artistic feature is the symbolism and the creation of the counterpoint.
本文试图从女人意象的多维表达中发掘《恶之花》中人性的复杂展现以及整体性象征手法和对位法的形式创造。
参考来源 - 波德莱尔诗歌中的女人意象·2,447,543篇论文数据，部分数据来源于NoteExpress
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。
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.
我们从华兹华斯的黄水仙花走到了波德莱尔的恶之花。
We went from Wordsworth's daffodils to Baudelaire's flowers of evil.
因此，西方现代派文学的真正源头，应是法国诗人波德莱尔发表《恶之花》的1957年。
Therefore, the source of the real modernistic literature ought to be 1957 when Charles Baudelair had his les Fleus du mal published.
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