林良對臺灣兒童文學貢獻良多，其大量的創作與翻譯是兒童文學研究者豐富的研究資源。本文藉由林良的翻譯作品以及他對翻譯的論述，來探討他的兒童文學翻譯觀，特別是他對繪本的翻譯觀，以及他的兒童觀。 林良的翻譯觀基本上依循嚴復所說的「信、達、雅」，但如果以「譯寫」為名，便可看出他下筆變得比較自由，然而自由的譯寫卻可能破壞原作的整體感。以其繪本譯作《醜小鴨》為例，便出現邏輯與圖文不一致，突顯出自由譯寫其實未必比忠實翻譯容易。 此外，從《醜小鴨》可看出林良的譯寫有淺化簡化、添加解釋、迴避尋死情節的傾向。這樣的傾向反映出成人對兒童能力的低估。然而所謂的「兒童」其實是成人建構出來的理想形象，在個體之間存在差異的情況下，在成人兒童界線不明的情況下，以及「兒童能力不如成人」其實也是一種假設的情況下，對兒童能力的低估可能成為自我應驗的預言，限制了兒童的潛力與兒童文學翻譯的發展。

Liang Lin has a great contribution to children's literature in Taiwan. His many literary works are good resources for researchers to study and analyze. I would like to explore Lin's concept of translation through his translation and his utterance on translation, especially on his translation of picture books, as well as his concept of children. Basically, Lin's concept of translation follows the norms of "fidelity, clarity, and elegance" established by Yan Fu, but in the name of "adaptation," instead of "translation," Lin's writing seems to have more freedom. However, this freedom might influence the integrity of the work. His adapted The Ugly Duckling, as an example, shows the logical confusion and the inconsisten cy between text and pictures. It demonstrates that adaptation may not be easier than translation. In addition, his adaptation of this book shows the intention of simplification, additional explanation, and deletion of the death issue. This intention reflects his low estimation of the child reader's abilities. Actually, the "child" could be an ideal image constructed by adults. There are differences among individual children and the boundary between adults and children are more and more unclear nowadays. Besides, it is a very questionable assumption that children's abilities are inferior to adults'. The low estimation of children's abilities could become a self-fulfilling prophecy, limiting the child reader's potentials and the development of translation of children's literature.