本文試圖觀察西方童話在臺灣女詩人筆下的樣貌與意義，探討其中隱藏的女性意識，以及書寫模式的創發。文中列舉臺灣十位女詩人的作品，整理出四種童話論述的類型：一、喻寫童話，關懷社會與人生，以蓉子、曾美玲為例；二、擁抱童話，自我治療與認同，以胡品清為例；三、解構童話，嘲弄愛情與生活，以夏宇、陳斐雯、羅任玲與洪淑苓為例；四、塑造新童話，「扮演」的書寫策略，以顏艾琳、廖之韻與吳菀菱為例。 這些女詩人的童話論述，共通的現象是：對公主形象的認同或不認同，對經典情節的複述或變調；特別對「後來」的庸俗想像，最能解構童話的神聖性與完美性。像胡品清那樣深深擁抱童話的，可說闡述了女性對童話的鄉愁，夏宇等四位女詩人，她們將童話落實人間，由此達到女性意識的覺醒。而從顏艾琳以下，女詩人解構童話的同時，才表現出真正的女性獨立意識，在質疑、抗議、猶豫、感傷的情調之外，開始有扮演、遊戲、冷雋的語調出現，女詩人才真正從童話中解放，而可能創造新的書寫模式。

This article tries to observe the types and meanings of western fairy tales written by Taiwan female poets. It also hopes to find the femininity consciousness and new writing models of those female poets. We selected 10 Taiwan female poets' poetry to be discussed, in which we found 4 types of their fairy tale discourses. First, thinking fairy tales as symbols in order to concern the society and lives. Under this point, we took for examples in Rong Tzy and Tzeng Meeiling's poetry. Second, holding the fairy tales as the self-cure and self-identity. Under this point, we took for examples in Hu Pinching's poetry. Third, deconstructing fairy tales in order to satirize love and lives. Under this point, we took for examples in Shiah Yeu, Chern Feeiwen, Luo Rennling and Horng Shuling's poetry. Besides, we also discussed Yan Ayling, Liaw Jyyunn and Wu Woanling's poetry, so we may find more de-structure art in their works. There are some mutual signs in the 4 types of fairy tales discourse. The female poets whether or not identify with the Princess' images, and the always described or reformed the motifs of fairy tales in their poetry. Especially, reforming the ending or continuation of fairy tales with a philistinism point would destroy the holy sense and perfection of fairy tales. For example, Hu Pinching's holding fairy tales tightly represented women's homesick of these tales, while Shiah Yeu and other three female poets put fairy tales down to ordinary lives, which represented their feminist consciousness awakening. Also, Yan Ayling is a good beginning of the young female poets who tried to make de-structure of fairy tales to show their female independent consciousness. The young female poets are pleasant to play a part of fairy tales, and they usually have a cold mood to set up a new model of the fairy tale discourse.