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本体诗歌翻译理论主要探讨译文与原文在形式与内容上的关系。译文与原文应该达到形似还是神似，译者应该求真还是求美，这是翻译界一直争论的话题。按照“形似与神似，求真与求美”的关系来分析江枫先生对艾米莉·狄金森的两首诗歌“暴风雨夜”和“篱笆那边”的翻译，可以看出，标点符号、遣词、诗歌的韵式和诗人的创作风格等方面体现了江枫译文的特点和风格：译文选词简单但富有张力，行文简约而内敛，与原诗风格颇似；但由于过于追求简约而稍显生硬和晦涩。总之，江枫的译文是形似与神似结合的典范，体现其“形似而后神似”的主张以及“简约而忠实”的风格，但并未完全实现“求真与求美”的完美结合。“,”The ontology of poetry translation theory focuses on the relationship between form and spirit of the translation work and the original work. Form similarity and spirit similarity, pursuit of truth and pursuit of beauty, which one is more important to a translator and his/her translation? The problem is a noticeable controversy among translation schools. This paper aims to discuss the relationship between form similarity and spirit similarity and that between pursuit of truth and pursuit of beauty. Moreover, the paper analyzes Jiang Feng’s translation of two poems by Emily Dickinson: Wild Nights and Over the fence. The analysis is conducted in terms of punctuation, choice of words, rhyme scheme, and writing style, etc. The conclusion is drawn as follows: Jiang’s translation usually prefers simple words with full tension; being concise and implicit, Jiang’s translation, resembles Dickinson’s original poems to much degree; but Jiang’s translation is a little bit rigid and inflexible to readers. In short, Jang Feng’s translation of Dickinson’s poetry is a fine example combing form similarity and spirit similarity, reflecting his proposal that “form similarity goes before spirit similarity”. His translation features conciseness and loyalty, but doesn’t arrive at the state of a perfect combination of pursuing both truth and beauty.