戴望舒追憶詩學中最顯著的主題便是對花卉的雙重修辭化塑造，以期重獲被現代性撕裂的理想之美，進而達到重塑新型的自我身份。這種獨特的雙重辭格具體表現為一種雙向孕育的建構過程，即花卉的物理特性孕育並激發了詩人的詩性意識，觸發了詩人對記憶、女性、時間感、放逐、夢、蝴蝶、悲悼、書本與花卉之間的觀照，而這種對花卉的辭格化冥想反過來又使哀敗中的花卉昇華為超感時間的恆久植物範本（herbarium），最終虛空的現代性時間被詩歌救贖，分裂的自我意識得以重塑，失落的歷史過往被重構為對未來的想像。正是戴望舒詩歌中的這種花卉的追憶辭格促成了詩人對中國現代性中的危機自我的雙重跨越——從自我到非我，從他者到新塑自我，從而使現代漢詩的自我形塑達致更加成熟高點。

Dai Wangshu’s poetics of memory is uniquely characterized by the double reconfiguration of flowers. In an attempt to regain the ideal beauty torn by modernity and to reconstruct a new self-identity, this unique dual reconfiguration is embodied as a twoway insemination in that the physical characteristics of flowers have nurtured and stimulated the poet’s poetic consciousness, and have triggered the poet’s contemplation on the intersections of flowers with memory, women, sense of time, exile, dreams, butterflies, books and mourning. This figurative meditation on flowers in turn sublimates flower’s transience into a transcendent plant model (herbarium) that defies sensual time, and finally the ever-empty time of modernity is redeemed by poetry , the divided self-consciousness is reshaped, and the lost historical past is reconstructed into an imagination of the future. It is this kind of floral remembrance in Dai Wangshu’s poetry that has enabled the poet’s double crossing in the era of the crisis of self in Chinese modernity--from self to non-self, from the other to the new self, and thus has shaped the self in modern Chinese poetry towards a higher measure of maturity.