玩偶 玩偶匠屋裡的一個玩偶 看著搖籃大聲哭訴： “這是對我們的侮辱。” 可是最年長的玩偶， 因被留作樣品，見過 幾代同類，他的尖叫 蓋過了整個架子：“雖說 沒人能夠舉報 此地的罪惡， 那對男女竟把個 又吵又髒的東西帶到這兒， 丟盡了我們的臉。” 聽到他咕噥又伸懶腰， 玩偶匠的妻子意識到 她丈夫聽見了那壞蛋的話， 於是在他的座椅扶手旁蹲下， 頭倚著他的肩， 對著他的耳朵低聲叨念： “親愛的，親愛的，哎呀， 那可是意外啊。” The Dolls A doll in the doll-maker's house Looks at the cradle and bawls: 'That is an insult to us.' But the oldest of all the dolls Who had seen, being kept for show, Generations of his sort, Out-screams the whole shelf: 'Although There's not a man can report Evil of this place, The man and the woman bring Hither, to our disgrace, A noisy and filthy thing.' Hearing him groan and stretch The doll-maker's wife is aware Her husband has heard the wretch, And crouched by the arm of his chair, She murmurs into his ear, Head upon shoulder leant: 'My dear, my dear, oh dear, It was an accident.' 外衣 我為我的歌做了件外衣， 從下擺到領子 都繡滿了 古老的神話故事； 卻被愚人們搶去， 在世人面前穿起， 仿佛那是出自他們之手。 歌啊，就讓他們拿去， 因為赤身行走 才更為進取。 譯者按： 1913年，葉慈結識了龐德，後者的朝氣和他後來倡導的意像主義運動，使中年的葉慈，在半迎半拒的心態下，接受新一代的影響。於是葉慈的詩從早期的浪漫主義和愛爾蘭神話中解脫出來，開始呈現一種正視現實的簡樸和誠摯的詩風。 A Coat I made my song a coat Covered with embroideries Out of old mythologies From heel to throat; But the fools caught it, Wore it in the world's eyes As though they'd wrought it. Song, let them take it, For there's more enterprise In walking naked. 原載《詩天空》