Stephen Burt: Why people need poetry

293,646 views ใƒป 2014-06-04

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Jiyun Hyun ๊ฒ€ํ† : Gemma Lee
00:13
I read poetry all the time
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์ €๋Š” ํ•ญ์ƒ ์‹œ๋ฅผ ์ฝ์Šต๋‹ˆ๋‹ค.
00:15
and write about it frequently
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๊ทธ๋ฆฌ๊ณ  ์ž์ฃผ ์‹œ์— ๋Œ€ํ•œ ๊ธ€์„ ์“ฐ์ฃ .
00:17
and take poems apart
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๊ทธ๋ฆฌ๊ณ  ์‹œ๋ฅผ ์ชผ๊ฐœ์–ด
00:18
to see how they work
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์–ด๋–ป๊ฒŒ ์‹œ๊ฐ€ ๊ตฌ์„ฑ๋˜๋Š”์ง€ ๋“ค์—ฌ๋‹ค ๋ณด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
00:20
because I'm a word person.
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์ €๋Š” ์–ธ์–ด์— ํŠนํ™”๋œ ์‚ฌ๋žŒ์ž…๋‹ˆ๋‹ค.
00:21
I understand the world best, most fully,
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์ œ๊ฐ€ ์ด ์„ธ์ƒ์„ ์ดํ•ดํ•˜๋Š” ๊ฐ€์žฅ ์ข‹์€ ์ˆ˜๋‹จ์€
00:24
in words rather than, say, pictures or numbers,
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๊ทธ๋ฆผ์ด๋‚˜ ์ˆซ์ž๊ฐ€ ์•„๋‹ˆ๋ผ ๋ง์ž…๋‹ˆ๋‹ค.
00:27
and when I have a new experience or a new feeling,
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๊ทธ๋ฆฌ๊ณ  ์ƒˆ๋กœ์šด ๊ฒฝํ—˜์„ ํ•˜๊ฑฐ๋‚˜ ์ƒˆ๋กœ์šด ๊ฐ์ •์„ ๋Š๋ผ๊ฒŒ ๋˜์—ˆ์„ ๋•Œ,
00:30
I'm a little frustrated
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๊ทธ๊ฒƒ์„ ๊ธ€๋กœ ์˜ฎ๊ธธ ์ˆ˜ ์žˆ๊ธฐ ์ „๊นŒ์ง„
00:31
until I can try to put it into words.
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๋‹ค์†Œ ๋ถˆ์•ˆํ•˜๊ณ  ์งœ์ฆ์ด ๋‚˜๊ธฐ๋„ ํ•ด์š”.
00:34
I think I've always been that way.
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์ €๋Š” ๋Š˜ ๊ทธ๋Ÿฐ ์‹์ด์—ˆ๋˜ ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
00:36
I devoured science fiction as a child. I still do.
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์–ด๋ ธ์„ ๋•Œ ์ €๋Š” ๊ณต์ƒ๊ณผํ•™์†Œ์„ค์— ํ‘น ๋น ์ ธ ์žˆ์—ˆ์–ด์š”. ์ง€๊ธˆ๋„ ๊ทธ๋ ‡๊ตฌ์š”.
00:39
And I found poems by Andrew Marvell
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๊ทธ๋ฆฌ๊ณ  ์•ค๋“œ๋ฃจ ๋งˆ๋ธ”์˜ ์‹œ๋‚˜
00:42
and Matthew Arnold and Emily Dickinson
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๋งคํŠœ ์•„๋†€๋“œ, ์—๋ฐ€๋ฆฌ ๋””ํ‚จ์Šจ,
00:43
and William Butler Yeats
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์œŒ๋ฆฌ์—„ ๋ฒ„ํ‹€๋Ÿฌ ์˜ˆ์ด์ธ ์˜ ์‹œ๋ฅผ ์ฐพ์•„ ์ฝ๊ณค ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:45
because they were quoted in science fiction,
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๊ทธ ๊ณต์ƒ๊ณผํ•™ ์†Œ์„ค๋“ค์— ๊ทธ ์‹œ๋“ค์ด ์ธ์šฉ๋˜์–ด ์žˆ์—ˆ๊ฑฐ๋“ ์š”.
00:47
and I loved their sounds
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์ €๋Š” ์‹œ๋ฅผ ๋“ฃ๋Š” ๊ฒƒ์ด ์ข‹์•˜์Šต๋‹ˆ๋‹ค.
00:48
and I went on to read about ottava rima
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๊ทธ ํ›„ 8ํ–‰์‹œ์˜ ์šด์œจ๊ณผ ์‹œ์ฒด,
00:51
and medial caesuras and enjambment
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์šด์œจํ•™์—์„œ์˜ ์ค‘๊ฐ„ ํœด์ง€์™€ ๊ตฌ์˜ ๊ฑธ์น˜๊ธฐ์™€ ๊ฐ™์€,
00:54
and all that other technical stuff
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์‹œ์— ๊ด€์‹ฌ์ด ์žˆ๊ธฐ์— ๊ถ๊ธˆํ–ˆ๋˜
00:56
that you care about if you already care about poems,
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์ „๋ฌธ์ ์ธ ๋ถ€๋ถ„๋“ค์„ ๊ณต๋ถ€ํ–ˆ์–ด์š”.
01:00
because poems already made me happier
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์™œ๋ƒํ•˜๋ฉด ์‹œ๊ฐ€ ์ €๋ฅผ ๋” ํ–‰๋ณตํ•˜๊ฒŒ,
01:04
and sadder and more alive.
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๋” ์Šฌํ”„๊ฒŒ, ๋” ์‚ด์•„์žˆ์Œ์„ ๋Š๋ผ๊ฒŒ ํ–ˆ์œผ๋‹ˆ๊นŒ์š”.
01:06
And I became a poetry critic
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์‹œ ๋น„ํ‰๊ฐ€๊ฐ€ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
01:08
because I wanted to know how and why.
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์‹œ๊ฐ€ ์–ด๋–ป๊ฒŒ, ์™œ ๊ทธ๋ ‡๊ฒŒ ํ•  ์ˆ˜ ์žˆ์—ˆ๋Š”์ง€ ์•Œ๊ธฐ ์œ„ํ•ด์„œ์š”.
01:12
Now, poetry isn't one thing that serves one purpose
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์‹œ๋Š” ์ ˆ๋Œ€ ํ•˜๋‚˜์˜ ๋ชฉ์ ์„ ์œ„ํ•ด ์กด์žฌํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
01:17
any more than music or computer programming
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์Œ์•…์ด๋‚˜ ์ปดํ“จํ„ฐ ํ”„๋กœ๊ทธ๋ž˜๋ฐ์ด
01:20
serve one purpose.
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ํ•˜๋‚˜์˜ ๋ชฉ์ ์„ ๊ฐ€์ง€์ง€ ์•Š๋Š” ๊ฒƒ์ฒ˜๋Ÿผ์š”.
01:22
The greek word poem, it just means "a made thing,"
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๊ทธ๋ฆฌ์Šค์–ด๋กœ ์‹œ๋Š” "๋งŒ๋“ค์–ด์ง„ ๊ฒƒ" ์ด๋ผ๋Š” ๋œป์ž…๋‹ˆ๋‹ค.
01:26
and poetry is a set of techniques,
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์‹œ์˜ ์—ฌ๋Ÿฌ ๊ธฐ๋ฒ•๊ณผ,
01:28
ways of making patterns
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์–ธ์–ด์— ๊ฐ์ •์„ ๋ถˆ์–ด๋„ฃ๋Š”
01:30
that put emotions into words.
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์‹œ์˜ ํŒจํ„ด๋“ค์ด ์‹œ๋ฅผ ๊ตฌ์„ฑํ•˜์ฃ .
01:32
The more techniques you know,
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์‹œ์˜ ๊ธฐ๋ฒ•์— ๋Œ€ํ•ด ๋งŽ์ด ์•Œ์ˆ˜๋ก
01:34
the more things you can make,
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๋” ๋‹ค์–‘ํ•œ ์‹œ๋ฅผ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜ ์žˆ๊ณ ,
01:37
and the more patterns you can recognize
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์—ฌ๋Ÿฌ๋ถ„์ด ์ด๋ฏธ ์ข‹์•„ํ•˜๊ณ  ์žˆ๋Š” ์‹œ๋“ค์—์„œ
01:40
in things you might already like or love.
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๋” ๋งŽ์€ ํŒจํ„ด๋“ค์„ ์•Œ์•„๋ณผ ์ˆ˜ ์žˆ๊ฒŒ ๋  ๊ฒ๋‹ˆ๋‹ค.
01:44
That said, poetry does seem to be
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๊ทธ๋ ‡๊ฒŒ ๋งํ•œ๊ฒƒ์œผ๋กœ ๋ณผ ๋•Œ, ์‹œ๋Š” ์–ด๋–ค ์ธก๋ฉด์—์„œ
01:47
especially good at certain things.
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์šฐ๋ฆฌ์—๊ฒŒ ํฐ ๋„์›€์ด ๋  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
01:50
For example, we are all going to die.
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์˜ˆ๋ฅผ ๋“ค์–ด, ์šฐ๋ฆฌ๋Š” ๋ชจ๋‘ ์ฃฝ์Šต๋‹ˆ๋‹ค.
01:56
Poetry can help us live with that.
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์‹œ๋Š” ์šฐ๋ฆฌ๊ฐ€ ๊ทธ๋Ÿผ์—๋„ ์‚ด์•„๊ฐˆ ์ˆ˜ ์žˆ๋„๋ก ๋„์™€์ค๋‹ˆ๋‹ค.
01:59
Poems are made of words, nothing but words.
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์‹œ๋Š” ๊ทธ๋ƒฅ ๋ง๋กœ ์ด๋ฃจ์–ด์ ธ์žˆ์„ ๋ฟ์ด์ง€๋งŒ'
02:02
The particulars in poems are like
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๊ฐ๊ฐ์˜ ์‹œ์— ์žˆ๋Š” ๊ฐœ์„ฑ์€
02:04
the particularities, the personalities,
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๋‹ค๋ฅธ ์ด๋“ค๊ณผ ์šฐ๋ฆฌ์˜ ์ •์ฒด์„ฑ์„ ๊ตฌ๋ถ„ํ•ด์ฃผ๋Š”
02:06
that distinguish people from one another.
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์šฐ๋ฆฌ์˜ ๊ณ ์œ ํ•œ ์„ฑ๊ฒฉ, ๋…ํŠนํ•จ๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค.
02:09
Poems are easy to share, easy to pass on,
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์‹œ๋Š” ํƒ€์ธ์—๊ฒŒ ์ „ํ•˜๊ฑฐ๋‚˜ ๊ณต์œ ํ•˜๊ธฐ ์‰ฝ์Šต๋‹ˆ๋‹ค.
02:12
and when you read a poem, you can imagine
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๊ทธ๋ฆฌ๊ณ  ์‹œ๋ฅผ ์ฝ์„๋•Œ ์šฐ๋ฆฌ๋Š”
02:13
someone's speaking to you or for you,
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๋ˆ„๊ตฐ๊ฐ€ ์šฐ๋ฆฌ์—๊ฒŒ ๋งํ•˜๊ณ  ์žˆ๋‹ค๊ณ  ์ƒ์ƒํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:17
maybe even someone far away
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๊ทธ ์‚ฌ๋žŒ์ด ๋ฉ€๋ฆฌ ๋–จ์–ด์ ธ ์žˆ๊ฑฐ๋‚˜
02:19
or someone made up or someone deceased.
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๊ฐ€์ƒ์˜ ์ธ๋ฌผ์ด๊ฑฐ๋‚˜, ๋˜๋Š” ์ฃฝ์€ ์‚ฌ๋žŒ์ผ์ง€๋ผ๋„์š”.
02:24
That's why we can go to poems when we want to
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์ด๊ฒƒ์ด ์šฐ๋ฆฌ๊ฐ€ ๋ˆ„๊ตฐ๊ฐ€ ํ˜น์€ ๋ฌด์—‡์„ ๊ธฐ์–ตํ•˜๊ณ  ์‹ถ์„ ๋•Œ
02:28
remember something or someone,
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์‹œ๋ฅผ ์ฝ๋Š” ์ด์œ ์ผ ๊ฒ๋‹ˆ๋‹ค.
02:31
to celebrate or to look beyond death
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์ฐฌ์–‘ํ•˜๊ฑฐ๋‚˜, ์ฃฝ์Œ ์ดํ›„์˜ ์„ธ๊ณ„๋ฅผ ์ƒ๊ฐํ•˜๊ฑฐ๋‚˜,
02:34
or to say goodbye,
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์ž‘๋ณ„ ์ธ์‚ฌ๋ฅผ ํ•˜๊ธฐ ์œ„ํ•ด์„œ ๋ง์ž…๋‹ˆ๋‹ค.
02:36
and that's one reason poems can seem important,
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๊ทธ๊ฒƒ์ด ๋ณดํ†ต ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์‹œ๊ฐ€ ์ค‘์š”ํ•œ ์ด์œ ์ž…๋‹ˆ๋‹ค.
02:40
even to people who aren't me,
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์–ธ์–ด์˜ ์„ธ๊ณ„์— ๋ชธ๋‹ด๊ณ  ์žˆ๋Š”
02:42
who don't so much live in a world of words.
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์ €๊ฐ™์€ ์‚ฌ๋žŒ์ด ์•„๋‹ˆ๋”๋ผ๋„ ๋ง์ด์ฃ .
02:46
The poet Frank O'Hara said,
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์‹œ์ธ ํ”„๋žญํฌ ์˜คํ•˜๋ผ๋Š” ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
02:48
"If you don't need poetry, bully for you,"
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"์‹œ๊ฐ€ ํ•„์š”์—†๋‹ค๋ฉด, ์ฐธ ์žฅํ•˜์‹œ๋„ค."
02:52
but he also said when he didn't want to be alive anymore,
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๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๊ฐ€ ๋”๋Š” ์‚ด๊ณ  ์‹ถ์ง€ ์•Š์•˜์„ ๋•Œ
02:55
the thought that he wouldn't write any more poems
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๋”์ด์ƒ ์‹œ๋ฅผ ์“ธ ์ˆ˜ ์—†๋‹ค๋Š” ์ƒ๊ฐ์ด
02:58
had stopped him.
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๊ทธ๋ฅผ ๋ฉˆ์ถ”๊ฒŒ ํ–ˆ๋‹ค๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
03:00
Poetry helps me want to be alive,
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์‹œ๋Š” ์ œ๊ฐ€ ์‚ด๊ณ  ์‹ถ๊ฒŒ ํ•˜๋Š” ์›๋™๋ ฅ์ž…๋‹ˆ๋‹ค.
03:02
and I want to show you why by showing you how,
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์ €๋Š” ๊ทธ ์ด์œ ๋ฅผ ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ์„ค๋ช…ํ•˜๊ธฐ ์œ„ํ•ด
03:05
how a couple of poems react to the fact that
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์šฐ๋ฆฌ๊ฐ€ ํ•˜๋‚˜์˜ ์‹œ๊ฐ„๊ณผ ๊ณต๊ฐ„, ํ•˜๋‚˜์˜ ๋ฌธํ™” ์†์— ์‚ด์•„ ์ˆจ์‰ฌ๊ณ  ์žˆ์œผ๋ฉฐ,
03:08
we're alive in one place at one time in one culture,
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๋‹ค๋ฅธ ์–ด๋”˜๊ฐ€์—์„  ์ „ํ˜€ ์กด์žฌํ•˜์ง€ ์•Š๋Š”๋‹ค๋Š” ์‚ฌ์‹ค์—
03:11
and in another we won't be alive at all.
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์‹œ๋“ค์ด ๋ฐ˜์‘ํ•˜๋Š” ๋ฐฉ์‹์„ ๋ณด์—ฌ๋“œ๋ฆฌ๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
03:16
So here's one of the first poems I memorized.
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์ด ์‹œ๋Š” ์ œ๊ฐ€ ์ฒ˜์Œ์— ์™ธ์› ๋˜ ์‹œ๋“ค ์ค‘ ํ•˜๋‚˜์ž…๋‹ˆ๋‹ค.
03:20
It could address a child or an adult.
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์–ด๋ฆฐ์•„์ด์™€ ์–ด๋ฅธ ๋ชจ๋‘ ์ฝ์„ ์ˆ˜ ์žˆ์ฃ .
03:25
"From far, from eve and morning
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"๋จธ๋‚˜๋จผ ๊ณณ, ๋ฐค๊ณผ ์•„์นจ๊ณผ
03:28
From yon twelve-winded sky,
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์—ด๋‘ ๋ฒˆ์˜ ๋ฐ”๋žŒ์ด ์ง€๋‚˜๊ฐ„ ํ•˜๋Š˜์„ ๋„˜์–ด
03:31
The stuff of life to knit me
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๋‚˜๋ฅผ ๋งŒ๋“ค๊ธฐ ์œ„ํ•œ ์ƒ๋ช…์˜ ์›ํ˜•์งˆ์ด
03:33
Blew hither; here am I.
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์ด๊ณณ์œผ๋กœ ๋‚ ์•„์˜ค๊ณ , ์—ฌ๊ธฐ์— ๋‚ด๊ฐ€ ์žˆ๋„ค.
03:35
Now โ€” for a breath I tarry
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์ด์ œ, ์ˆจ๊ฒฐ์ด ํ•œ ๋ฒˆ ์Šค์น˜๋Š” ๋™์•ˆ ๋‚˜ ๊ธฐ๋‹ค๋ฆฌ๋‹ˆ
03:37
Nor yet disperse apart โ€”
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์•„์ง ์‚ฐ์‚ฐ์ด ํฉ์–ด์ง€์ง€ ์•Š์€ ์ง€๊ธˆ
03:40
Take my hand quick and tell me,
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๋‚ด ์†์„ ์–ผ๋ฅธ ์žก๊ณ  ๋งํ•ด ์ฃผ์˜ค
03:42
What have you in your heart.
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๋‹น์‹  ๋งˆ์Œ์— ํ’ˆ๊ณ  ์žˆ๋Š” ๊ฒƒ๋“ค์„
03:44
Speak now, and I will answer;
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์ง€๊ธˆ ๋งํ•ด ์ฃผ์˜ค, ๋‚ด๊ฐ€ ๋Œ€๋‹ตํ•˜๋ฆฌ๋‹ˆ
03:46
How shall I help you, say;
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์–ด๋–ป๊ฒŒ ๋„์™€์ค„ ์ˆ˜ ์žˆ๋Š”์ง€, ๋งํ•ด ์ฃผ์˜ค
03:49
Ere to the wind's twelve quarters
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๋‚ด๊ฐ€ ๋ฐ”๋žŒ์˜ ์—ด๋‘ ๋ฐฉํ–ฅ์œผ๋กœ
03:51
I take my endless way."
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๋์—†๋Š” ๊ธธ์„ ๋‚˜์„œ๊ธฐ ์ „์—"
03:54
[A. E. Housman]
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[A.E. ํ•˜์šฐ์Šค๋จผ]
03:56
Now, this poem has appealed
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์ด ์‹œ๋Š” ๊ณต์ƒ ๊ณผํ•™ ์†Œ์„ค๊ฐ€๋“ค์˜
03:58
to science fiction writers.
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์ด๋ชฉ์„ ๋Œ์—ˆ์Šต๋‹ˆ๋‹ค.
03:59
It's furnished at least three science fiction titles,
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์ ์–ด๋„ ์„ธ ๊ฐœ์˜ ๊ณต์ƒ ๊ณผํ•™ ์†Œ์„ค์˜ ์ œ๋ชฉ์œผ๋กœ ์“ฐ์˜€์Šต๋‹ˆ๋‹ค.
04:02
I think because it says poems can brings us news
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์ €๋Š” ์‹œ๊ฐ€ ์šฐ๋ฆฌ์—๊ฒŒ
04:05
from the future or the past
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๋ฏธ๋ž˜์™€ ๊ณผ๊ฑฐ, ๋˜๋Š” ์ „์„ธ๊ณ„๋กœ๋ถ€ํ„ฐ
04:07
or across the world,
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์†Œ์‹์„ ๊ฐ€์ ธ๋‹ค ์ค„ ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
04:10
because their patterns can seem to tell you
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์™œ๋ƒ๋ฉด ์‹œํ–‰๋“ค์ด ์ด๋ฃจ๋Š” ํŒจํ„ด๋“ค์ด
04:12
what's in somebody's heart.
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๋ˆ„๊ตฐ๊ฐ€์˜ ๊ฐ€์Šด์† ์ƒ๊ฐ์„ ๋งํ•ด์ค„ ์ˆ˜ ์žˆ๋‹ค๊ณ  ๋ฏฟ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
04:14
It says poems can bring people together temporarily,
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์‹œ๋Š” ๋˜ํ•œ ์ž ์‹œ๋‚˜๋งˆ ์‚ฌ๋žŒ๋“ค์„ ํ•จ๊ป˜ ํ•ด์ค€๋‹ค๊ณ  ๋งํ•ฉ๋‹ˆ๋‹ค.
04:17
which I think is true,
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์ €๋„ ๊ทธ๊ฒŒ ์ฐธ์ด๋ผ๊ณ  ์ƒ๊ฐํ•˜๊ตฌ์š”.
04:19
and it sticks in my head not just because it rhymes
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์‹œ๊ฐ€ ๊ณ„์† ๋จธ๋ฆฟ์†์— ๋– ์˜ค๋ฅด๋Š” ์ด์œ ๋Š” ๋‹จ์ง€ ์šด์„ ๋งž์ท„๊ธฐ ๋•Œ๋ฌธ์ด ์•„๋‹ˆ๋ผ,
04:23
but for how it rhymes,
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๊ทธ ์‹œ์šด์ด ์ด๋ฃจ์–ด์ง€๋Š” ๋ฐฉ์‹ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
04:24
cleanly and simply on the two and four,
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๊ฐ„๊ฒฐํ•˜๊ณ  ์ •ํ™•ํ•˜๊ฒŒ 2ํ–‰๊ณผ 4ํ–‰์˜
04:26
"say" and "way,"
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"say" ์™€ "way", ๊ทธ๋ฆฌ๊ณ 
04:28
with anticipatory hints on the one and three,
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1ํ–‰๊ณผ 3ํ–‰์˜
04:31
"answer" and "quarters,"
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"answer" ๊ณผ "quarters"๊ฐ€
04:32
as if the poem itself were coming together.
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๋งˆ์น˜ ์‹œํ–‰์ด ํ•˜๋‚˜๋กœ ๋ฌถ์—ฌ ๋‹ค๊ฐ€์˜ค๋Š” ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
04:36
It plays up the fact that we die
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์—ฌ๊ธฐ์„œ ์‹œ์ธ์€ ์‚ถ์ด ํ˜๋Ÿฌ๊ฐ€๋Š” ์†๋„๋ฅผ ๊ณผ์žฅํ•จ์œผ๋กœ์จ
04:38
by exaggerating the speed of our lives.
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์ธ๊ฐ„์˜ ์œ ํ•œ์„ฑ์— ๋Œ€ํ•ด ๋งํ•ฉ๋‹ˆ๋‹ค.
04:40
A few years on Earth become
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์ง€๊ตฌ์—์„œ์˜ ๋ช‡ ๋…„์ด
04:43
one speech, one breath.
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ํ•˜๋‚˜์˜ ์ด์•ผ๊ธฐ, ํ•˜๋‚˜์˜ ์ˆจ๊ฒฐ์ด ๋ฉ๋‹ˆ๋‹ค.
04:45
It's a poem about loneliness --
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์ด ์‹œ๋Š” ์™ธ๋กœ์›€์— ๋Œ€ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:47
the "I" in the poem feels no connection will last โ€”
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์‹œ์˜ ํ™”์ž "๋‚˜"๋Š” ์–ด๋– ํ•œ ๊ด€๊ณ„๋„ ์ง€์†๋˜์ง€ ์•Š์„ ๊ฒƒ์ด๋ผ๊ณ  ๋Š๋‚๋‹ˆ๋‹ค.
04:50
and it might look like a plea for help
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๊ทธ๋ฆฌ๊ณ  ๋ˆ„๊ตฐ๊ฐ€์—๊ฒŒ ๋„์›€์„ ์š”์ฒญํ•˜๋Š” ๊ฒƒ์œผ๋กœ ๋ณด์ž…๋‹ˆ๋‹ค.
04:52
'til you get to the word "help,"
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๊ทธ๋Ÿฐ๋ฐ "๋„์›€"์ด๋ผ๋Š” ๋‹จ์–ด์— ๋‹ค๋‹ค๋ผ
04:55
where this "I" facing you, taking your hand,
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"๋‚˜"๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„์„ ๋งˆ์ฃผํ•˜๊ณ , ์—ฌ๋Ÿฌ๋ถ„์˜ ์†์„ ์žก๋Š” ๋ถ€๋ถ„์—์„œ๋Š”
04:57
is more like a teacher or a genie,
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์˜คํžˆ๋ ค ์„ ์ƒ๋‹˜์ด๋‚˜ ์š”์ • ์ง€๋‹ˆ ๊ฐ™์Šต๋‹ˆ๋‹ค.
04:59
or at least that's what he wants to believe.
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์•„๋‹ˆ๋ฉด ์ ์–ด๋„ ์‹œ์ธ์€ ๊ทธ๋ ‡๊ฒŒ ๋ฏฟ๊ณ  ์‹ถ์€ ๊ฒ๋‹ˆ๋‹ค.
05:02
It would not be the first time a poet had
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์‹œ์ธ์ด ์ž์‹ ์ด ๋“ฃ๊ณ  ์‹ถ์€ ์‹œ๋ฅผ ์“ฐ๋Š” ๊ฒƒ์ด
05:05
written the poem that he wanted to hear.
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์ด ์‹œ๊ฐ€ ์ฒ˜์Œ์€ ์•„๋‹ˆ์ฃ .
05:10
Now, this next poem really changed
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๋‹ค์Œ์— ๋‚˜์˜ค๋Š” ์‹œ๋Š” ์ •๋ง๋กœ ์ œ๊ฐ€
05:13
what I liked and what I read
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๋ฌด์—‡์„ ์ข‹์•„ํ•˜๊ณ  ์ฝ๋Š”์ง€,
05:15
and what I felt I could read as an adult.
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์–ด๋ฅธ์œผ๋กœ์„œ ์ฝ์„ ์ˆ˜ ์žˆ๋Š” ๊ฒƒ๋“ค์„ ๋ฐ”๊ฟ”๋†“์•˜์Šต๋‹ˆ๋‹ค.
05:17
It might not make any sense to you
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์ด ์‹œ๋ฅผ ์ฝ์–ด๋ณด์‹  ์ ์ด ์—†๋‹ค๋ฉด
05:19
if you haven't seen it before.
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์ „ํ˜€ ์ดํ•ด๊ฐ€ ๋˜์ง€ ์•Š์„ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
05:22
"The Garden"
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"์ •์›"
05:25
"Oleander: coral
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"ํ˜‘์ฃฝ๋„: ์‚ฐํ˜ธ์ƒ‰
05:27
from lipstick ads in the 50's.
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50๋…„๋Œ€์˜ ๋ฆฝ์Šคํ‹ฑ ๊ด‘๊ณ ์—์„œ.
05:30
Fruit of the tree of such knowledge
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์ง€์‹์˜ ๋‚˜๋ฌด์—์„œ ๋‚œ ์—ด๋งค
05:33
To smack (thin air)
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ํœ™ ์น˜๊ธฐ (๋‚œ๋ฐ์—†์ด)
05:35
meaning kiss or hit.
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์ž…๋งž์ถค, ๋˜๋Š” ์ฒ ์ฉ ๋•Œ๋ฆฌ๊ธฐ
05:37
It appears
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์–ด์ฐŒํ•˜์—ฌ ์ด๋Š”
05:38
in the guise of outworn usages
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์ง„๋ถ€ํ•œ ๋ง์˜ ์œ„์žฅ์œผ๋กœ ๊ฐ€๋ฆฌ์›Œ์ง€๋Š”๊ฐ€
05:40
because we are bad?
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์šฐ๋ฆฌ๊ฐ€ ์•…ํ•˜๊ธฐ ๋•Œ๋ฌธ์—?
05:43
Big masculine threat,
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์ปค๋‹ค๋ž€ ๋‚จ์„ฑ์ ์ธ ์œ„ํ˜‘์ด,
05:44
insinuating and slangy."
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์—๋‘˜๋Ÿฌ ์†์–ด๋กœ ๋‚˜ํƒ€๋‚˜๋Š”๊ฐ€."
05:47
[Rae Armantrout]
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[๋ž˜ ์•„๋งŒํŠธ๋ผ์šฐํŠธ]
05:49
Now, I found this poem in an anthology
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์ €๋Š” ์ด ์‹œ๋ฅผ ์ด ์‹œ๋งŒํผ ๋‚œํ•ดํ•œ
05:52
of almost equally confusing poems in 1989.
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1989๋…„์ž‘ ์‹œ๋“ค์ด ์ˆ˜๋ก๋œ ์‹œ์„ ์ง‘์—์„œ ์ฐพ์•˜์Šต๋‹ˆ๋‹ค.
05:55
I just heard that there were these scandalous writers
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์ €๋Š” ๋‚œํ•ดํ•œ ์ž‘ํ’ˆ์œผ๋กœ ๋…ผ๋ž€์˜ ๋Œ€์ƒ์ด ๋˜์—ˆ๋˜
05:57
called Language poets who didn't make any sense,
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์ด๋“ค "์–ธ์–ด์ฃผ์˜ ์‹œ์ธ"๋“ค์— ๋Œ€ํ•ด ์•Œ๊ฒŒ ๋˜์—ˆ๊ณ ,
05:59
and I wanted to go and see for myself what they were like,
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๊ทธ๋“ค์˜ ์ž‘ํ’ˆ์„ ์ง์ ‘ ๋ณด์•„์•ผ๊ฒ ๋‹ค๊ณ  ๋งˆ์Œ ๋จน์—ˆ์ฃ .
06:02
and some of them didn't do much for me,
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๋ช‡๋ช‡ ์ž‘๊ฐ€๋“ค์€ ๋„๋ฌด์ง€ ์ดํ•ดํ•˜๊ธฐ ์–ด๋ ค์› ์ง€๋งŒ
06:03
but this writer, Rae Armantrout,
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์ด ์ž‘๊ฐ€, ๋ž˜ ์•„๋งŒํŠธ๋ผ์šฐํŠธ๋Š” ๋‹ฌ๋ž์Šต๋‹ˆ๋‹ค.
06:05
did an awful lot, and I kept reading her
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์ €๋Š” ๊ทธ๋…€์˜ ์‹œ๋ฅผ ๊ณ„์† ์ฝ์—ˆ๊ณ ,
06:08
until I felt I knew what was going on,
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์ด ์‹œ๋ฅผ ์ œ๊ฐ€ ์ดํ•ดํ•˜๋Š” ๊ฒƒ์ฒ˜๋Ÿผ
06:11
as I do with this poem.
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๊ทธ๋…€์˜ ์‹œ๋“ค์„ ์ดํ•ดํ•˜๊ฒŒ ๋˜์—ˆ์ฃ .
06:12
It's about the Garden of Eden and the Fall
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์ด ์‹œ๋Š” ์—๋ด๋™์‚ฐ๊ณผ ํƒ€๋ฝ์— ๊ด€ํ•ด ๋งํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
06:15
and the Biblical story of the Fall,
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ํƒ€๋ฝ๊ณผ ๊ด€๋ จํ•œ ์„ฑ๊ฒฝ์˜ ์ด์•ผ๊ธฐ๋Š”
06:19
in which sex as we know it
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์šฐ๋ฆฌ๊ฐ€ ์•Œ๋‹ค์‹œํ”ผ ์„ฑ๊ณผ
06:21
and death and guilt
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์ฃฝ์Œ๊ณผ ์ฃ„์ฑ…๊ฐ์ด
06:22
come into the world at the same time.
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์„ธ์ƒ์— ํ•œ๊บผ๋ฒˆ์— ์ƒ๊ฒจ๋‚ฌ๋‹ค๋Š” ๋‚ด์šฉ์„ ๋‹ค๋ฃจ์ฃ .
06:24
It's also about how appearances deceive,
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๋˜ํ•œ, ์ด ์‹œ๋Š” ๊ฒ‰์œผ๋กœ ๋ณด์ด๋Š” ๊ฒƒ์˜ ๊ธฐ๋งŒ์  ์†์„ฑ๊ณผ
06:26
how our culture can sweep us along
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์šฐ๋ฆฌ๋ฅผ ๋‘˜๋Ÿฌ์‹ผ ๋ฌธํ™”๊ฐ€ ์–ด๋–ป๊ฒŒ ์šฐ๋ฆฌ๊ฐ€ ์˜๋„์น˜ ์•Š๊ฑฐ๋‚˜ ์›์น˜ ์•Š๋Š” ๊ฒƒ๋“ค์„
06:29
into doing and saying things we didn't intend
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๋งํ•˜๊ณ , ์‹คํ–‰ํ•˜๊ฒŒ ํ•˜๋Š”๊ฐ€์— ๋Œ€ํ•ด ๋งํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
06:31
or don't like, and Armantrout's style
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์•„๋งŒํŠธ๋ผ์šฐํŠธ๋Š” ์—ฌ๊ธฐ์„œ ์šฐ๋ฆฌ์—๊ฒŒ,
06:34
is trying to help us stop or slow down.
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์ž ์‹œ ๋ฉˆ์ถ”๊ฑฐ๋‚˜ ์†๋„๋ฅผ ๋Šฆ์ถ”์–ด์•ผ ํ•œ๋‹ค๊ณ  ๋งํ•˜๋Š” ๊ฒƒ์ด์ฃ .
06:37
"Smack" can mean "kiss" as in air kisses,
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์—ฌ๊ธฐ์„œ "smack(ํœ™ ์น˜๊ธฐ)" ์€ ํ—ˆ๊ณต์— ํ•˜๋Š” ์ž…๋งž์ถค์ด๋‚˜
06:41
as in lip-smacking,
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"์ž…์ˆ ์— ์ชฝ ๋งž์ถ”๊ธฐ"๋ฅผ ๋œปํ•  ์ˆ˜ ์žˆ์–ด์š”.
06:42
but that can lead to "smack" as in "hit"
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๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๊ฒƒ์€ "๋•Œ๋ฆฌ๋‹ค"๋กœ๋„ ํ•ด์„ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:45
as in domestic abuse,
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๊ฐ€์ • ํญ๋ ฅ๊ณผ ์—ฐ๊ด€์ง€์–ด์„œ์š”.
06:47
because sexual attraction can seem threatening.
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์™œ๋ƒํ•˜๋ฉด ์„ฑ์  ๋งค๋ ฅ์€ ์œ„ํ˜‘์ ์œผ๋กœ ๋ณด์—ฌ์งˆ ์ˆ˜ ์žˆ๊ณ ,
06:51
The red that means fertility
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๋‹ค์‚ฐ์„ฑ์„ ์ƒ์ง•ํ•˜๋Š” ๋ถ‰์€์ƒ‰์€
06:53
can also mean poison.
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๋…์„ ์˜๋ฏธํ•  ์ˆ˜๋„ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
06:55
Oleander is poisonous.
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์ด ์‹œ์˜ ํ˜‘์ฃฝ๋„๋Š” ๋…์ด ์žˆ๋Š” ๊ฝƒ์ด์ฃ .
06:56
And outworn usages like "smack" for "kiss"
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๊ทธ๋ฆฌ๊ณ  "smack" ์ด๋‚˜ "kiss" ,"hit"์ฒ˜๋Ÿผ
06:59
or "hit" can help us see
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ํ”ํžˆ ์“ฐ์—ฌ ์ง„๋ถ€ํ•ด์ง„ ๋ง๋“ค์ด ์šฐ๋ฆฌ๋กœ ํ•˜์—ฌ๊ธˆ
07:02
how our unacknowledged assumptions
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์šฐ๋ฆฌ๊ฐ€ ๋ฌด์˜์‹์ ์œผ๋กœ ์šฐ๋ฆฌ ์ž์‹ ์„
07:04
can make us believe we are bad,
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์•…ํ•œ ์กด์žฌ๋ผ๊ณ  ๋ฏฟ๊ฒŒ ๋งŒ๋“ญ๋‹ˆ๋‹ค.
07:06
either because sex is sinful
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์„ฑ๊ด€๊ณ„๊ฐ€ ์ฃ„์•…์ด๊ธฐ ๋•Œ๋ฌธ์ด๋“ 
07:08
or because we tolerate so much sexism.
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์„ฑ์ฐจ๋ณ„์ฃผ์˜๋ฅผ ์šฉ์ธํ•˜๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋“  ๋ง์ด์ฃ .
07:11
We let guys tell women what to do.
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์šฐ๋ฆฌ๋Š” ๋‚จ๋…€๊ด€๊ณ„์—์„œ ๋‚จ์„ฑ์ด ์šฐ์›”ํ•œ ์œ„์น˜์— ์žˆ๋„๋ก ๋‚ด๋ฒ„๋ ค ๋‘์ฃ .
07:14
The poem reacts to old lipstick ads,
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์ด ์‹œ๋Š” ์˜ค๋ž˜๋œ ๋ฆฝ์Šคํ‹ฑ ๊ด‘๊ณ ์— ๋ฐ˜์‘์„ ํ•ฉ๋‹ˆ๋‹ค.
07:17
and its edginess about statement,
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๊ทธ ๊ด‘๊ณ  ์†์˜ ๋ฌธ๊ตฌ์— ๋Œ€ํ•œ ์‹ ๋ž„ํ•œ ํ•ด์„๊ณผ
07:19
its reversals and halts, have everything to do
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์‹œ ๋‚ด๋ถ€์˜ ๋ฐ˜์ „, ํœด์ง€๋Š” ๋ชจ๋‘ ์šฐ๋ฆฌ์—๊ฒŒ
07:21
with resisting the language of ads
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์šฐ๋ฆฌ๊ฐ€ ๋ฌด์—‡์„ ์›ํ•˜๊ณ , ์–ด๋–ค ์ƒ๊ฐ์„ ํ•  ์ง€
07:24
that want to tell us so easily what to want,
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๋„ˆ๋ฌด๋‚˜๋„ ์‰ฝ๊ฒŒ ๊ฒฐ์ •ํ•ด์ฃผ๋ ค๊ณ  ํ•˜๋Š”
07:27
what to do, what to think.
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๊ด‘๊ณ ์  ์–ธ์–ด์— ๋Œ€ํ•œ ์ €ํ•ญ์ธ ๊ฒƒ์ด์ฃ .
07:28
That resistance is a lot of the point of the poem,
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๊ทธ๋Ÿฌํ•œ ์ €ํ•ญ์ด ๊ทธ ์‹œ์˜ ํ•ต์‹ฌ์ž…๋‹ˆ๋‹ค.
07:31
which shows me, Armantrout shows me
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์•„๋งŒํŠธ๋ผ์šฐํŠธ๋Š” ์ด ์‹œ๋ฅผ ํ†ตํ•ด ์ €์—๊ฒŒ
07:33
what it's like to hear grave threats
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์—„์ค‘ํ•œ ์œ„ํ˜‘๊ณผ ์น˜๋ช…์ ์ธ ๋ถ€์ •์— ๊ด€ํ•œ ๋ฌธ์ œ๊ฐ€
07:35
and mortal dishonesty in the language
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์ผ์ƒ์ ์ธ ์–ธ์–ด๋กœ ๋‹ค๊ฐ€์™”์„ ๋•Œ ์–ด๋–ค ๋Š๋‚Œ์ธ์ง€
07:37
of everyday life, and once she's done that,
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๋ณด์—ฌ์ฃผ์—ˆ์ฃ . ๊ทธ๋…€๊ฐ€ ๊ทธ๋ฆฌ ํ•จ์œผ๋กœ์จ
07:40
I think she can show other people, women and men,
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์—ฌ์ž๋“  ๋‚จ์ž๋“  ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ๋„
07:44
what it's like to feel that way
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๊ทธ๊ฒƒ์ด ์–ด๋–ค ๋Š๋‚Œ์ธ์ง€ ๋ณด์—ฌ์ค„ ์ˆ˜ ์žˆ์„๊ฑฐ๋ผ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
07:46
and say to other people, women and men
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๊ทธ๋ฆฌ๊ณ  ์—ฌ์ž๋“  ๋‚จ์ž๋“ , ์†Œ์™ธ๋˜๊ณ  ์œ„ํ˜‘์„ ๋ฐ›๊ณ  ์žˆ๋Š”
07:49
who feel so alienated or so threatened
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๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ๊ทธ๋“ค์ด ํ˜ผ์ž๊ฐ€ ์•„๋‹ˆ๋ผ๊ณ 
07:52
that they're not alone.
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๋งํ•ด์ค„ ์ˆ˜ ์žˆ์„ ๊ฒ๋‹ˆ๋‹ค.
07:54
Now, how do I know that I'm right
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์ž, ๊ณผ์—ฐ ์ด ๋‚œํ•ดํ•œ ์‹œ๋ฅผ
07:57
about this somewhat confusing poem?
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์ œ๊ฐ€ ์ œ๋Œ€๋กœ ํ•ด์„ํ–ˆ๋‹ค๋Š” ๊ฒƒ์„ ์–ด์ฐŒ ํ™•์‹ ํ• ๊นŒ์š”?
07:59
Well in this case, I emailed the poet a draft of my talk
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์Œ, ์šฐ์„  ์ด ๊ฒฝ์šฐ ์‹œ์ธ์—๊ฒŒ ์ด ๊ฐ•์—ฐ์˜ ์ดˆ๊ณ ๋ฅผ ์ด๋ฉ”์ผ๋กœ ๋ณด๋ƒˆ์Šต๋‹ˆ๋‹ค.
08:02
and she said, "Yeah, yeah, that's about it."
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๊ทธ๋žฌ๋”๋‹ˆ ๊ทธ๋…€๊ฐ€ "๋„ค, ๋„ค, ๊ทธ ์ •๋„์ผ ๋ฟ์ด์˜ˆ์š”." ๋ผ๊ณ  ํ•˜๋”๊ตฐ์š”.
08:05
Yeah. (Laughter) (Applause)
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๋„ค, ๊ทธ๋žฌ์ฃ . (์›ƒ์Œ) (๋ฐ•์ˆ˜)
08:08
But usually, you can't know. You never know.
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ํ•˜์ง€๋งŒ ๋ณดํ†ต์€ ์•Œ ์ˆ˜ ์—†์ฃ . ์ ˆ๋Œ€๋กœ์š”.
08:11
You can't be sure, and that's okay.
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ํ™•์‹คํžˆ ์•Œ ์ˆ˜ ๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ๊ทธ๊ฑด ๋ฌธ์ œ๋˜์ง€ ์•Š์•„์š”.
08:14
All we can do we is listen to poems
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์šฐ๋ฆฌ๊ฐ€ ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์€ ์‹œ๋ฅผ ๋“ฃ๊ณ ,
08:16
and look at poems and guess
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์‹œ๋ฅผ ์ฝ๊ณ , ์ถ”์ธกํ•˜๋Š” ๊ฒƒ์ด์ฃ .
08:17
and see if they can bring us what we need,
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์‹œ๊ฐ€ ์šฐ๋ฆฌ์—๊ฒŒ ํ•„์š”ํ•œ ๊ฒƒ์„ ๊ฐ€์ ธ๋‹ค ์ค„ ์ˆ˜ ์žˆ๋Š”์ง€ ๋ณด๋Š” ๊ฒ๋‹ˆ๋‹ค.
08:20
and if you're wrong about some part of a poem,
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๋งŒ์— ํ•˜๋‚˜ ์‹œ๋ฅผ ์ผ๋ถ€๋ถ„ ์ž˜๋ชป ํ•ด์„ํ•˜๋”๋ผ๋„,
08:23
nothing bad will happen.
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ํฌ๊ฒŒ ์ž˜๋ชป๋  ์ผ์€ ์—†์ฃ .
08:27
Now, this next poem is older than Armantrout's,
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์ž, ๋‹ค์Œ ์‹œ๋Š” ์•„๋งŒํŠธ๋ผ์šฐํŠธ์˜ ์‹œ๋ณด๋‹ค๋Š” ์˜ค๋ž˜๋˜์—ˆ์ง€๋งŒ
08:29
but a little younger than A. E. Housman's.
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A. E. ํ•˜์šฐ์Šค๋งŒ์˜ ์‹œ๋ณด๋‹ค๋Š” ์ตœ๊ทผ์˜ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:33
"The Brave Man"
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"์šฉ๊ฐํ•œ ์‚ฌ๋žŒ"
08:35
"The sun, that brave man,
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"ํƒœ์–‘, ์šฉ๊ฐํ•œ ์‚ฌ๋žŒ์ด์—ฌ,
08:38
Comes through boughs that lie in wait,
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๋ˆ„์›Œ ์žˆ๋Š” ๊ฐ€์ง€ ์‚ฌ์ด๋กœ ์†Ÿ์•„์˜ค๋ฅธ๋‹ค,
08:40
That brave man.
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์ € ์šฉ๊ฐํ•œ ์‚ฌ๋žŒ์ด์—ฌ.
08:43
Green and gloomy eyes
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ํ‘ธ๋ฅด๊ฒŒ ์ด๊ธ€๊ฑฐ๋ฆฌ๋Š” ์ € ๋ˆˆ์€
08:44
In dark forms of the grass
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ํ’€์ˆฒ์˜ ๊ฒ€์€ ํ˜•์ƒ
08:46
Run away.
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๋„๋ง ์นœ๋‹ค.
08:48
The good stars,
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๋ฐคํ•˜๋Š˜์˜ ๋ณ„๋“ค์€,
08:49
Pale helms and spiky spurs,
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์ฐฝ๋ฐฑํ•˜๊ฒŒ ๋น›๋‚˜๋Š” ํˆฌ๊ตฌ์™€ ๋‚ ์นด๋กœ์šด ๋ฐ•์ฐจ
08:52
Run away.
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๋„๋ง ์นœ๋‹ค.
08:54
Fears of my bed,
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๋‚ด ์ž ์ž๋ฆฌ์˜ ๋‘๋ ค์›€๊ณผ
08:55
Fears of life and fears of death,
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์ƒ๊ณผ ์‚ฌ์˜ ๋‘๋ ค์›€,
08:57
Run away.
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๋„๋ง ์นœ๋‹ค.
08:59
That brave man comes up
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์ € ์šฉ๊ฐํ•œ ์‚ฌ๋žŒ์€ ๋งˆ์นจ๋‚ด
09:01
From below and walks without meditation,
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์ƒ๋…์˜ ๋ถ€์žฌ ์†์—์„œ๋„ ์†Ÿ์•„ ์ผ์–ด๋‚  ๊ฒƒ์ด๋‹ค,
09:04
That brave man."
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์ € ์šฉ๊ฐํ•œ ์‚ฌ๋žŒ์ด์—ฌ."
09:06
[Wallace Stevens]
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[์›”๋ฆฌ์Šค ์Šคํ‹ฐ๋ธ์Šค]
09:09
Now, the sun in this poem,
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๋ณด์„ธ์š”. ์ด ์‹œ์—์„œ,
09:11
in Wallace Stevens' poem, seems so grave
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์›”๋ฆฌ์Šค ์Šคํ‹ฐ๋ธ์Šค์˜ ์‹œ์—์„œ ํ•ด๋Š” ๊ต‰์žฅํžˆ ์ค‘๋Œ€ํ•ด ๋ณด์ž…๋‹ˆ๋‹ค.
09:14
because the person in the poem is so afraid.
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์™œ๋ƒํ•˜๋ฉด, ์‹œ ์•ˆ์—์„œ ๊ทธ ์‚ฌ๋žŒ์ด ๊ต‰์žฅํžˆ ๋‘๋ ค์›€์— ๋–จ๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
09:17
The sun comes up in the morning through branches,
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ํ•ด๋Š” ์•„์นจ์— ๊ฐ€์ง€๋“ค ์‚ฌ์ด๋กœ ์–ผ๊ตด์„ ๋‚ด๋ฐ€๋ฉฐ ๋– ์˜ค๋ฆ…๋‹ˆ๋‹ค.
09:20
dispels the dew, the eyes, on the grass,
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ํ’€ ์œ„์— ๋งบํ˜€์žˆ๋Š” ์ด์Šฌ, ์ฆ‰ ๋ˆˆ์„ ํฉ์–ด๋ฒ„๋ฆฌ๋ฉฐ,
09:23
and defeats stars envisioned as armies.
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๊ตฐ๋Œ€๋กœ ํ˜•์ƒํ™”๋œ ๋ณ„๋“ค์„ ์žฌํŒจํ•˜๋ฉด์„œ์š”.
09:26
"Brave" has its old sense of showy
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"์šฉ๊ฐํ•œ" ์ด๋ผ๋Š” ๋‹จ์–ด๋Š” ์›๋ž˜ '์šฉ๊ธฐ'๋ผ๋Š” ๋œป ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
09:28
as well as its modern sense, courage.
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'ํ™”๋ คํ•จ'์˜ ๋œป๋„ ๋‚ดํฌํ•˜์ฃ .
09:30
This sun is not afraid to show his face.
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์ด ์‹œ์—์„œ ํ•ด๋Š” ์–ผ๊ตด์„ ๋‹น๋‹นํžˆ ๋‚ด๋ณด์ž…๋‹ˆ๋‹ค.
09:34
But the person in the poem is afraid.
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๋ฐ˜๋ฉด ์‚ฌ๋žŒ์€ ๊ทธ๋ ‡์ง€ ๋ชปํ•˜์ฃ . ๋‘๋ ค์›€์— ๋–จ๋ฉฐ
09:37
He might have been up all night.
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๋ฐค์„ ์ง€์ƒˆ์› ์„ ์ง€๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
09:38
That is the reveal Stevens saves for that fourth stanza,
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๊ทธ๊ฒƒ์ด ๋ฐ”๋กœ ์Šคํ‹ฐ๋ธ์Šค๊ฐ€ 4์—ฐ์—
09:42
where run away has become a refrain.
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"๋„๋ง ์นœ๋‹ค"๊ฐ€ ํ›„๋ ด๊ตฌ๋กœ ๋ฐ˜๋ณต๋˜์ฃ .
09:45
This person might want to run away too,
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์ด ์‚ฌ๋žŒ๋„ ๋„๋ง์น˜๊ณ  ์‹ถ์„์ง€๋„ ๋ชจ๋ฅด์ง€๋งŒ
09:47
but fortified by the sun's example,
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ํ•ด์—๊ฒŒ์„œ ๊ฐ•ํ•œ ๋™๊ธฐ๋ฅผ ์–ป์–ด
09:50
he might just rise.
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์ผ์–ด์„œ๊ณ  ๋งž์„ค ์ˆ˜ ์žˆ๋Š”๊ฑฐ์ฃ .
09:52
Stevens saves that sonically odd word "meditation"
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์Šคํ‹ฐ๋ธ์Šค๋Š” ๋‹ค์†Œ ์–ด์ƒ‰ํ•˜๊ฒŒ ๋“ค๋ฆฌ๋Š” "๋ช…์ƒ"์ด๋ผ๋Š” ๋ง์„
09:57
for the end.
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์‹œ์˜ ๋งˆ์ง€๋ง‰์— ์ œ์‹œํ•ฉ๋‹ˆ๋‹ค.
09:58
Unlike the sun, human beings think.
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ํ•ด์™€๋Š” ๋‹ฌ๋ฆฌ, ์‚ฌ๋žŒ์€ ์ƒ๊ฐํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
10:01
We meditate on past and future, life and death,
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์šฐ๋ฆฌ๋Š” ๊ณผ๊ฑฐ์™€ ๋ฏธ๋ž˜, ์‚ถ๊ณผ ์ฃฝ์Œ,
10:05
above and below.
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์œ„์™€ ์•„๋ž˜์— ๋Œ€ํ•ด ๋ช…์ƒํ•ฉ๋‹ˆ๋‹ค.
10:08
And it can make us afraid.
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๊ทธ๋Ÿฌํ•œ ์ƒ๊ฐ์€ ์šฐ๋ฆฌ๋ฅผ ๋‘๋ ค์›Œํ•˜๊ฒŒ ๋งŒ๋“ค์ฃ .
10:12
Poems, the patterns in poems,
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์‹œ๋Š”, ์‹œ ์•ˆ์˜ ์ผ์ •ํ•œ ํŒจํ„ด๋“ค์€
10:14
show us not just what somebody thought
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๋ˆ„๊ตฐ๊ฐ€์˜ ์ƒ๊ฐ์ด๋‚˜ ๊ทธ๊ฐ€ ํ•œ ์ผ,
10:16
or what someone did or what happened
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๋˜๋Š” ๋ฌด์—‡์ด ์ผ์–ด๋‚ฌ๋Š”์ง€์— ๋Œ€ํ•ด์„œ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
10:17
but what it was like to be a person like that,
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๊ทธ ์‚ฌ๋žŒ์ด ๋˜์–ด ์‚ด์•„๊ฐ„๋‹ค๋Š” ๊ฒƒ์ด ์–ด๋–ค ๊ฒƒ์ธ์ง€์— ๋Œ€ํ•ด์„œ ๋ณด์—ฌ์ฃผ์ฃ .
10:22
to be so anxious, so lonely, so inquisitive,
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์‹œ์˜ ๋“ฑ์žฅ์ธ๋ฌผ์ฒ˜๋Ÿผ ๋ถˆ์•ˆํ•˜๊ฑฐ๋‚˜, ์™ธ๋กญ๊ฑฐ๋‚˜, ํƒ๊ตฌ์ ์ด๊ฑฐ๋‚˜,
10:26
so goofy, so preposterous, so brave.
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์–ด๋ฆฌ์„๊ณ , ํ„ฐ๋ฌด๋‹ˆ ์—†๊ณ , ์šฉ๊ฐํ•œ ์‚ฌ๋žŒ์œผ๋กœ ์‚ด์•„๊ฐ„๋‹ค๋Š” ๊ฒƒ์ด ์–ด๋– ํ• ์ง€๋ฅผ์š”.
10:32
That's why poems can seem at once so durable,
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๊ทธ๊ฒƒ์ด ์‹œ๊ฐ€ ๋•Œ๋กœ๋Š” ์˜์†์ ์ธ ๊ฒƒ ๊ฐ™๋‹ค๊ฐ€๋„,
10:35
so personal, and so ephemeral,
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๊ทนํžˆ ์‚ฌ์ ์ด๊ณ  ๋ง์—†์ด ๋Š๊ปด์ง€๊ธฐ๋„ ํ•˜๋Š” ์ด์œ ์ฃ .
10:37
like something inside and outside you at once.
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์—ฌ๋Ÿฌ๋ถ„ ๋‚ด๋ถ€์˜ ์„ธ๊ณ„์ธ ๋™์‹œ์—, ์™ธ๋ถ€์˜ ์„ธ๊ณ„์ธ ๊ฒ๋‹ˆ๋‹ค.
10:41
The Scottish poet Denise Riley compares poetry
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์Šค์ฝ”ํ‹€๋žœ๋“œ์˜ ์‹œ์ธ ๋ฐ๋‹ˆ์Šค ๋ผ์ผ๋ฆฌ๋Š” ์‹œ๋ฅผ ๋ฐ”๋Š˜์— ๋น„๊ตํ•ฉ๋‹ˆ๋‹ค.
10:44
to a needle, a sliver of outside I cradle inside,
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๋ฐ”๋Š˜์€ ๋ฐ”๊นฅ์„ธ์ƒ์˜ ์ผ๋ถ€๋ฅผ ํ’ˆ์— ์•ˆ๊ณ  ์žˆ์ฃ .
10:48
and the American poet Terrance Hayes
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๊ทธ๋ฆฌ๊ณ  ๋ฏธ๊ตญ์˜ ์‹œ์ธ ํ…Œ๋ Œ์Šค ํ—ค์ด์Šค๋Š”
10:50
wrote six poems called "Wind in a Box."
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"์ƒ์ž ์†์˜ ๋ฐ”๋žŒ"์ด๋ผ๋Š” ์ œ๋ชฉ์œผ๋กœ 6ํŽธ์˜ ์‹œ๋ฅผ ์ง€์—ˆ์Šต๋‹ˆ๋‹ค.
10:53
One of them asks, "Tell me,
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๊ทธ ์ค‘ ํ•œ ์‹œ๋Š” ์ด๋ ‡๊ฒŒ ๋ฌป์ฃ . "๋งํ•ด ์ฃผ์˜ค,
10:55
what am I going to do when I'm dead?"
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๋‚ด๊ฐ€ ์ฃฝ์—ˆ์„ ๋•Œ ๋‚˜๋Š” ๋ฌด์—‡์„ ํ•ด์•ผ ํ•  ๊ฒƒ์ธ๊ฐ€?"
10:58
And the answer is that he'll stay with us
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๊ทธ์— ๋Œ€ํ•œ ๋Œ€๋‹ต์€ ๊ทธ๊ฐ€ ์šฐ๋ฆฌ์™€ ํ•จ๊ป˜ ๋‚จ์•„ ์žˆ๊ฑฐ๋‚˜,
11:00
or won't stay with us inside us as wind,
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์šฐ๋ฆฌ๋“ค ๋งˆ์Œ ์†์—์„œ ๋ฐ”๋žŒ์œผ๋กœ, ๊ณต๊ธฐ๋กœ, ๊ทธ๋ฆฌ๊ณ  ๋‹จ์–ด๋“ค๋กœ
11:03
as air, as words.
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๋‚จ์•„ ์žˆ์ง€ ์•Š์„ ๊ฑฐ๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:06
It is easier than ever to find poems
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์ด์ œ๋Š” ์–ด๋Š ๋•Œ ๋ณด๋‹ค๋„ ์šฐ๋ฆฌ์™€ ํ•จ๊ป˜ ํ•  ์‹œ๋“ค์„ ์‰ฝ๊ฒŒ ์ฐพ์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
11:09
that might stay inside you, that might stay with you,
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์—ฌ๋Ÿฌ๋ถ„ ๋งˆ์Œ ์†์—, ์—ฌ๋Ÿฌ๋ถ„ ๊ณ์— ๋จธ๋ฌด๋ฅผ ์‹œ๋ฅผ์š”.
11:13
from long, long ago, or from right this minute,
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๊ทธ๊ฑด ์•„์ฃผ ์˜ค๋ž˜ ์ „๋ถ€ํ„ฐ์ผ์ˆ˜๋„ ์žˆ๊ณ , ๋ฐ”๋กœ ์ง€๊ธˆ๋ถ€ํ„ฐ์ผ ์ˆ˜ ๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
11:15
from far away or from right close to where you live,
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๊ทธ ์‹œ๋Š” ๋ฉ€๋ฆฌ ์žˆ์„ ์ˆ˜๋„ ์žˆ๊ณ , ์šฐ๋ฆฌ๊ฐ€ ์–ด๋”” ์‚ด๋“  ์ƒ๊ด€์—†์ด
11:18
almost no matter where you live.
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์šฐ๋ฆฌ์™€ ๊ฐ€๊นŒ์ด ์žˆ์„ ์ˆ˜๋„ ์žˆ์–ด์š”.
11:21
Poems can help you say, help you show how you're feeling,
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์‹œ๋Š” ์šฐ๋ฆฌ๊ฐ€ ๋Š๋ผ๋Š” ๊ฐ์ •๋“ค์„ ์–ธ์–ด๋กœ ํ‘œํ˜„ํ•˜๋Š” ๊ฒƒ์„ ๋„์™€์ค๋‹ˆ๋‹ค.
11:24
but they can also introduce you
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๊ทธ๋Ÿฌ๋‚˜ ๋˜ํ•œ ์‹œ๋Š” ์šฐ๋ฆฌ๋กœ ํ•˜์—ฌ๊ธˆ
11:27
to feelings, ways of being in the world,
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๊นŠ๊ณ  ๋‹ค์–‘ํ•œ ๊ฐ์ •๊ณผ, ์‚ถ์„ ์‚ด์•„๊ฐ€๋Š” ๋ฐฉ์‹๊ณผ,
11:29
people, very much unlike you,
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์˜ค๋ž˜ ์ „์— ์ด ์„ธ์ƒ์„ ์‚ด๋‹ค ๊ฐ”๋˜ ์‚ฌ๋žŒ์ฒ˜๋Ÿผ
11:32
maybe even people from long, long ago.
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์šฐ๋ฆฌ์™€ ๊ต‰์žฅํžˆ ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ๋กœ ๋‹ค๊ฐ€๊ฐ€๊ฒŒ ํ•ด์ฃผ์ฃ .
11:36
Some poems even tell you
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์–ด๋–ค ์‹œ๋“ค์€ ๊ทธ๋Ÿฌํ•œ ์‹œ์˜ ํšจ์šฉ์„
11:38
that that is what they can do.
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์ง์ ‘ ๋งํ•˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
11:43
That's what John Keats is doing
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๊ทธ ์ค‘ ํ•˜๋‚˜๊ฐ€ ์กด ํ‚ค์ธ ์˜ ์‹œ์ž…๋‹ˆ๋‹ค.
11:45
in his most mysterious, perhaps, poem.
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์ด ์‹œ๋Š” ์•„๋งˆ๋„ ๊ทธ์˜ ์‹œ ์ค‘ ๊ฐ€์žฅ ๋ถˆ๊ฐ€์‚ฌ์˜ํ•œ ๊ฒƒ์ผ ๊ฒ๋‹ˆ๋‹ค.
11:50
It's mysterious because it's probably unfinished,
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์•„๋งˆ๋„ ๋์„ ๋งบ์ง€ ๋ชปํ–ˆ๊ธฐ ๋•Œ๋ฌธ์— ๋ถˆ๊ฐ€์‚ฌ์˜ํ•ฉ๋‹ˆ๋‹ค.
11:54
he probably left it unfinished,
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์‹œ์ธ์€ ์•„๋งˆ๋„ ์ด๊ฒƒ์„
11:56
and because it might be meant
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์—ฐ๊ทน์— ์“ฐ์ผ ๊ฒƒ์œผ๋กœ ์˜๋„ํ–ˆ๊ธฐ ๋•Œ๋ฌธ์—
11:58
for a character in a play,
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๋๋งบ์ง€ ์•Š์•˜์„ ๊ฒ๋‹ˆ๋‹ค.
12:00
but it might just be Keats' thinking
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๊ทธ๋ ‡์ง€๋งŒ ๋‹จ์ง€ ์ž์‹ ์˜ ์‹œ ์ฐฝ์ž‘์— ๋Œ€ํ•œ,
12:02
about what his own writing,
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๊ทธ๊ฐ€ ์ง์ ‘ ์“ด ์‹œ์— ๋Œ€ํ•œ
12:04
his handwriting, could do,
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๊ทธ์˜ ์ƒ๊ฐ์—์„œ ๋น„๋กฏ๋˜์—ˆ์„ ์ˆ˜๋„ ์žˆ์ฃ .
12:06
and in it I hear, at least I hear, mortality,
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๊ทธ๋ฆฌ๊ณ  ์ด ์‹œ์—์„œ ์ €๋Š” ์ธ๊ฐ„์˜ ์œ ํ•œ์„ฑ์„ ๋Š๊ผˆ์Šต๋‹ˆ๋‹ค.
12:10
and I hear the power of older poetic techniques,
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์˜ค๋ž˜๋œ ์‹œ์  ํ‘œํ˜„๊ธฐ๋ฒ•์ด ๊ฐ–๋Š” ํž˜์— ๋Œ€ํ•ด์„œ๋„์š”.
12:13
and I have the feeling, you might have the feeling,
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ๋Š๋‚๋‹ˆ๋‹ค. ์—ฌ๋Ÿฌ๋ถ„๋„ ๋Š๋‚„ ์ง€๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
12:16
of meeting even for an instant, almost becoming,
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๊ทธ ์˜›๋‚ ์— ์‚ด์•˜๋˜, ์žŠ๊ธฐ ์–ด๋ ค์šด ๋ˆ„๊ตฐ๊ฐ€๋ฅผ
12:19
someone else from long ago,
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์•„์ฃผ ์ž ๊น์˜ ์‹œ๊ฐ„์—๋ผ๋„ ๋งŒ๋‚˜๋Š”,
12:20
someone quite memorable.
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๊ฑฐ์˜ ๊ทธ ์‚ฌ๋žŒ์ด ๋˜์–ด๊ฐ€๋Š” ๋Š๋‚Œ์„์š”.
12:23
"This living hand, now warm and capable
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"์ƒ๋ช…์ด ๋‹ด๊ฒจ ๋”ฐ๋œปํ•˜๋ฉฐ ์›€์ผœ์ฅ˜ ์ˆ˜ ์žˆ๋Š”
12:26
Of earnest grasping, would, if it were cold
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์ด ์‚ด์•„์žˆ๋Š” ์†์€ ์ฐจ๊ฐ€์šด ๋ฌด๋ค ์†์˜
12:30
And in the icy silence of the tomb,
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์ฐจ๊ฐ€์šด ์นจ๋ฌต์— ์‹์–ด์žˆ์—ˆ๋”๋ผ๋ฉด
12:32
So haunt thy days and chill thy dreaming nights
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๋‚ฎ๋™์•ˆ ๊ทธ๋Œ€๋ฅผ ๋”ฐ๋ผ๋‹ค๋‹ˆ๋ฉฐ ๋ฐค์—” ์•…๋ชฝ์œผ๋กœ ๋‚˜ํƒ€๋‚˜
12:36
That thou would wish thine own heart dry of blood
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๊ทธ๋Œ€๊ฐ€ ์ฐจ๋ผ๋ฆฌ ๊ทธ๋Œ€์˜ ์‹ฌ์žฅ์—์„œ ํ”ผ๊ฐ€ ๋ง๋ผ๋ถ™์–ด
12:40
So in my veins red life might stream again,
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๋‚˜์˜ ํ˜ˆ๋งฅ์— ์ƒˆ๋นจ๊ฐ„ ์ƒ๋ช…์ด ๋‹ค์‹œ ์ƒ˜์†Ÿ๊ธฐ๋ฅผ
12:43
And thou be conscience-calmโ€™d -- see here it is --
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๊ทธ๋ž˜์„œ ๊ทธ๋Œ€์˜ ๋งˆ์Œ ํŽธํ•ด์ง€๊ธฐ๋ฅผ ์—ผ์›ํ•  ํ„ฐ - ์—ฌ๊ธธ ๋ณด๋ผ -
12:48
I hold it towards you."
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์—ฌ๊ธฐ ๋‚ด ์ฐจ๊ฐ€์šด ์†์ด ์žˆ๋‚˜๋‹ˆ"
12:53
Thanks.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
12:55
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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