本論文以台灣世界語學會機關雜誌《La Verda Ombro》（綠蔭）中刊載的俄國盲人作家愛羅先珂的3篇作品為分析主軸，考察愛氏作品於台灣、日本、中國的傳播途徑與前後的著作權糾紛過程，進而理出世界語及其緊密的連繫網絡，乃為1920年代初期東亞知識分子交流的一個重要管道；並提出愛羅先珂作品於《La Verda Ombro》的刊載，除了可見當時的台灣世界語者對世界潮流與東亞脈動的觀察之敏銳，也流露出編者如連溫卿，與日本及中國進步的知識作家有著類似的、對於俄國及當時代左翼思潮與文藝的憧憬。這些作品的刊載與其意義，也應在台灣文學史上記上一筆。

The paper focuses on the analysis of the three works of the Russian blind writer, Vasilij J. EROŜENKO, published in La Verda Ombro (Green Shade), a magazine of Taiwan Esperanto Association. The aim of the paper is to examine the spreading way of Vasilij J. EROŜENKO's literary works in Taiwan, Japan and China, and the whole process of copyright dispute so as to sort out its close network with Esperanto, which is an important path for the communication of East Asian intellectuals in the early1920s. Moreover, the paper points out that the publication of Vasilij J. EROŜENKO's works in Verda Ombro not only shows the acute sensitivity of Taiwan Esperantists' observation of world trend and pulsations in East Asia, but also reveals that editors such as Lian Wen-Ching, who are similar to Japanese and Chinese progressive intellectual writers, had visions for Russian and left-wing's trend and literature and art. The publication and significance of these works should also be recorded in the history of Taiwan literature.