其實這首詩前半的那種二元對立有點老套，但最後的反轉帶點諷刺還蠻有趣的。類似的回馬槍之感在〈延齡草〉也出現過，但那首的反轉更後設而且力道更強烈，我就喜歡得多。
〈雛菊〉
別客氣，你就直說吧。庭園
不是真實世界。機器
才是真實世界。坦白說出任何傻子
都能從你臉上讀出的：合理的做法
是避開我們，是抗拒
懷舊。這
不夠現代，風吹動
草地上雛菊的聲音：頭腦
不會因聽風而閃亮。而頭腦
當然要閃亮，就像
機器閃亮，而非
比方說，像樹根扎深。但還是
很感人，看你小心翼翼
走近草地邊緣，一大清早
絕不會有人
看見你的時候。你在草地旁站愈久，
愈顯緊張。沒人想聽
自然世界的印象：你會再度
被嘲笑；人們會對你嗤之以鼻。
至於你今晨此刻
實際聽到的話：想清楚
是否要告訴別人這原野上說了什麼
又是誰說的
Daisies
Go ahead: say what you're thinking. The garden
is not the real world. Machines
are the real world. Say frankly what any fool
could read in your face: it makes sense
to avoid us, to resist
nostalgia. It is
not modern enough, the sound the wind makes
stirring a meadow of daisies: the mind
cannot shine following it. And the mind
wants to shine, plainly, as
machines shine, and not
grow deep, as, for example, roots. It is very touching,
all the same, to see you cautiously
approaching the meadow's border in early morning,
when no one could possibly
be watching you. The longer you stand at the edge,
the more nervous you seem. No one wants to hear
impressions of the natural world: you will be
laughed at again; scorn will be piled on you.
As for what you're actually
hearing this morning: think twice
before you tell anyone what was said in this field
and by whom.
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