Billy Collins: Everyday moments, caught in time

313,706 views ใƒป 2012-03-23

TED


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

๋ฒˆ์—ญ: Woo Hwang ๊ฒ€ํ† : Jang hoon Kim
00:15
I'm here to give you
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์ „ ์—ฌ๋Ÿฌ๋ถ„๊ป˜
00:17
your recommended dietary allowance
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์‹œ์˜ ํ•˜๋ฃจ ์ ์ •๋Ÿ‰์„
00:19
of poetry.
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์•Œ๋ ค ๋“œ๋ฆฌ๋ ค ์™”์Šต๋‹ˆ๋‹ค.
00:21
And the way I'm going to do that
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์ €๋Š” ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ์ œ ์‹œ๋“ค์ค‘
00:23
is present to you
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5๊ฐœ๋ฅผ ๊ณจ๋ผ ๊ทธ์— ํ•ด๋‹นํ•˜๋Š”
00:25
five animations
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5๊ฐœ์˜ ์• ๋‹ˆ๋ฉ”์ด์…˜๋“ค์„
00:27
of five of my poems.
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๋ณด์—ฌ๋“œ๋ฆด๊นŒ ํ•ฉ๋‹ˆ๋‹ค.
00:29
And let me just tell you a little bit of how that came about.
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์ž‘ํ’ˆ์— ๋Œ€ํ•ด ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ์ข€ ์„ค๋ช…์„ ํ•ด๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
00:31
Because the mixing of those two media
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๊ทธ๋Ÿฐ ๋‘ ์ข…๋ฅ˜์˜ ๋ฏธ๋””์–ด๋ฅผ ํ˜ผํ•ฉํ•œ ๊ฒƒ์€
00:33
is a sort of unnatural or unnecessary act.
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์–ด๋Š ์ •๋„ ๋ถ€์ž์—ฐ์Šค๋Ÿฝ๊ณ  ๋ถˆํ•„์š”ํ•œ ์ผ์ด๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
00:36
But when I was United States Poet Laureate --
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ํ•˜์ง€๋งŒ ์ œ๊ฐ€ ๋ฏธ๊ตญ ๊ณ„๊ด€ ์‹œ์ธ์ด์—ˆ์„ ๋•Œ [*์—ญ: ๊ฐ€์žฅ ๋ช…์˜ˆ๋กœ์šด ์‹œ์ธ์—๊ฒŒ ๋‚ด๋ฆฌ๋Š” ์นญํ˜ธ]
00:40
and I love saying that.
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์ฐธ๊ณ ๋กœ ์ „ ์ด๋ง ํ•˜๋Š”๊ฒŒ ์ฐธ ์ข‹์Šต๋‹ˆ๋‹ค.
00:42
(Laughter)
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(์›ƒ์Œ)
00:44
It's a great way to start sentences.
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์ด๋Š” ๋ฌธ์žฅ์„ ์‹œ์ž‘ํ•˜๋Š” ์•„์ฃผ ์ข‹์€ ๋ฐฉ๋ฒ•์ด์ฃ .
00:47
When I was him back then,
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์ œ๊ฐ€ ๊ทธ๋Ÿฐ ์‚ฌ๋žŒ์ด์—ˆ์„ ๋•Œ,
00:50
I was approached by J. Walter Thompson, the ad company,
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๊ด‘๊ณ  ํšŒ์‚ฌ๋ฅผ ํ•˜๋˜ J.Walter Thompson์—๊ฒŒ ์—ฐ๋ฝ์„ ๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.
00:53
and they were hired
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋“ค์€ Sundance Channel์—
00:55
sort of by the Sundance Channel.
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์˜๋ขฐ๋ฅผ ๋ฐ›์•„ ์ผ์„ ํ•˜๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
00:57
And the idea was to have me record some of my poems
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๊ทธ๋“ค์˜ ์ œ์•ˆ์€ ์ œ๊ฐ€ ์ €์˜ ์‹œ๋ฅผ ๋‚ญ๋…ํ•˜๋Š” ๊ฒƒ์„ ๋…น์Œํ•˜๊ณ ,
00:59
and then they would find animators
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์ดํ›„์— ๊ทธ๋“ค์ด ์• ๋‹ˆ๋ฉ”์ดํ„ฐ๋ฅผ ๊ณ ์šฉํ•ด
01:01
to animate them.
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์• ๋‹ˆ๋ฉ”์ด์…˜ ์ž‘์—…์„ ํ•˜๋Š” ๊ฒƒ์ด์˜€์Šต๋‹ˆ๋‹ค.
01:03
And I was initially resistant,
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๊ทธ๋ฆฌ๊ณ , ์ฒ˜์Œ์—๋Š” ์ €๋Š” ๋ฐ˜๋Œ€ํ–ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
01:05
because I always think
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์ €๋Š” ํ•ญ์ƒ ์‹œ๊ฐ€ ์‹œ ์ž์ฒด๋กœ๋งŒ์œผ๋กœ
01:07
poetry can stand alone by itself.
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์ถฉ๋ถ„ํ•˜๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
01:09
Attempts to put my poems to music
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์Œ์•…์— ์ œ ์‹œ๋ฅผ ๋„ฃ์œผ๋ ค ํ–ˆ๋˜
01:12
have had disastrous results,
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๋ชจ๋“  ์‹œ๋„๋“ค์€ ์ฐธํ˜นํ•œ ๊ฒฐ๊ณผ๋ฅผ
01:14
in all cases.
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๋‚ณ์•˜์—ˆ์Šต๋‹ˆ๋‹ค.
01:17
And the poem, if it's written with the ear,
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๊ทธ๋ฆฌ๊ณ  ์‹œ๊ฐ€ ๊ท€์™€ ํ•จ๊ป˜ ์“ฐ์—ฌ์ง„ ๊ฒƒ์ด๋ผ๋ฉด
01:20
already has been set to its own verbal music
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์ด๋ฏธ ๊ทธ๋งŒ์˜ ์–ธ์–ด์ ์ธ ์Œ์•…์ด ๋‚ด์žฌ๋œ ๊ฒƒ์ด์ฃ .
01:23
as it was composed.
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์ž‘๊ณก๋œ ๊ฒƒ๊ณผ ๊ฐ™์€ ๊ฒ๋‹ˆ๋‹ค.
01:25
And surely, if you're reading a poem
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๊ทธ๋ฆฌ๊ณ  ๋ถ„๋ช…ํžˆ, ์—ฌ๋Ÿฌ๋ถ„์ด ์†Œ๋ฅผ ์–ธ๊ธ‰ํ•œ
01:27
that mentions a cow,
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์‹œ๋ฅผ ์ฝ๋Š”๋‹ค๋ฉด ๋‹ค์Œ ์žฅ์—
01:29
you don't need on the facing page
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์†Œ๊ฐ€ ๊ทธ๋ ค์ง„ ์‚ฝํ™”๊ฐ€
01:31
a drawing of a cow.
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ํ•„์š”์น˜ ์•Š์Šต๋‹ˆ๋‹ค.
01:33
I mean, let's let the reader do a little work.
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์ œ ๋ง์€, ๋…์ž๋“ค์ด ์–ด๋Š ์ •๋„๋Š” ์ƒ์ƒํ•˜๊ฒŒ ํ•˜์ž๋Š” ๊ฒ๋‹ˆ๋‹ค.
01:36
But I relented because it seemed like an interesting possibility,
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ํ•˜์ง€๋งŒ ์ €๋Š” ์ œ์•ˆ์ด ํฅ๋ฏธ๋กœ์šด ๊ฐ€๋Šฅ์„ฑ์„ ๋ณด์˜€๊ธฐ๋•Œ๋ฌธ์— ๋™์˜ํ–ˆ์ฃ .
01:39
and also I'm like a total cartoon junkie
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๊ทธ๋ฆฌ๊ณ  ์ „ ์–ด๋ ธ์„ ๋•Œ๋ถ€ํ„ฐ
01:42
since childhood.
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๋งŒํ™”๊ด‘์ด์—ˆ๊ฑฐ๋“ ์š”.
01:45
I think more influential
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์ œ ์ƒ์ƒ๋ ฅ์— ๋” ๋งŽ์€ ์˜ํ–ฅ์„ ๋ผ์นœ ๊ฑด
01:47
than Emily Dickinson or Coleridge or Wordsworth
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Emily Dickinson์ด๋‚˜ Coleridge, Wordsworth๋ณด๋‹ค๋Š”
01:50
on my imagination
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Warner Brothers, Merrie Melodies
01:52
were Warner Brothers, Merrie Melodies
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๊ทธ๋ฆฌ๊ณ  Loony Tunes
01:54
and Loony Tunes cartoons.
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๋งŒํ™”๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
01:57
Bugs Bunny is my muse.
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Bugs Bunny๋Š” ์ €์˜ ๋ฎค์ฆˆ(์˜ˆ์ˆ ๊ฐ€์—๊ฒŒ ์˜๊ฐ์„ ์ฃผ๋Š” ๊ฒƒ)์ด์ฃ .
02:01
And this way poetry could find its way onto television of all places.
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๊ทธ๋ฆฌ๊ณ  ์ด๋Ÿฐ ๋ฐฉ์‹์€ ์‹œ๊ฐ€ ์–ด๋””์—์„œ๋“ ์ง€ ํ…”๋ ˆ๋น„์ „์„ ํ†ตํ•ด ์ž์‹ ๋งŒ์˜ ๊ธธ์„ ์ฐพ์„ ์ˆ˜ ์žˆ๊ฒŒ ํ•ด์ค๋‹ˆ๋‹ค.
02:05
And I'm pretty much all for poetry in public places --
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๊ทธ๋ฆฌ๊ณ  ์ „ ๊ณต๊ณต ์žฅ์†Œ์˜ ์‹œ๋ฅผ ์œ„ํ•œ ๊ฑฐ์˜ ๋ชจ๋“  ๊ฒƒ๋“ค
02:08
poetry on buses, poetry on subways,
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์ฆ‰, ๋ฒ„์Šค์—์„œ์˜ ์‹œ, ์ง€ํ•˜์ฒ ์—์„œ์˜ ์‹œ,
02:11
on billboards, on cereal boxes.
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๊ฐ„ํŒ์—์„œ์˜, ์‹œ๋ฆฌ์–ผ ๋ฐ•์Šค์—์„œ์˜ ์‹œ๋“ค์„ ์ง€์ง€ํ•ฉ๋‹ˆ๋‹ค.
02:15
When I was Poet Laureate, there I go again --
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์ œ๊ฐ€ ๊ณ„๊ด€ ์‹œ์ธ์ด์—ˆ์„ ๋•Œ -๋‹ค์‹œ ํ•œ ๋ฒˆ ๋งํ•˜๊ฒŒ ๋˜๋Š”๊ตฐ์š”.
02:19
I can't help it, it's true --
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์ €๋„ ์–ด์ฉ” ์ˆ˜๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค. ์‚ฌ์‹ค์ด๋‹ˆ๊นŒ์š”.-
02:22
(Laughter)
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(์›ƒ์Œ)
02:25
I created a poetry channel on Delta Airlines
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์ €๋Š” Delta Airlines์— ์‹œ ์ฑ„๋„์„ ๋งŒ๋“ค์—ˆ์ฃ .
02:28
that lasted for a couple of years.
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๋ช‡ ๋…„ ๋™์•ˆ ์ง€์†๋˜์—ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
02:30
So you could tune into poetry as you were flying.
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๊ทธ ๊ฒฐ๊ณผ ์—ฌ๋Ÿฌ๋ถ„์€ ๋น„ํ–‰ํ•˜๋Š” ๋™์•ˆ ์‹œ ์ฑ„๋„์„ ๋งž์ถœ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:33
And my sense is,
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๊ทธ๋ฆฌ๊ณ  ์ œ ์ƒ๊ฐ์—”,
02:35
it's a good thing to get poetry off the shelves
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์‹œ๋ฅผ ๊บผ๋‚ด์–ด ๋” ๋งŽ์€ ๊ณต๊ณต์žฅ์†Œ๋กœ
02:38
and more into public life.
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๋Œ์–ด๋“ค์ด๋Š” ๊ฒƒ์ด ์ข‹์€ ์ผ์ž…๋‹ˆ๋‹ค.
02:40
Start a meeting with a poem. That would be an idea you might take with you.
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๋ฏธํŒ…์„ ์‹œ๋กœ ์‹œ์ž‘ํ•˜์„ธ์š”. ์—ฌ๋Ÿฌ๋ถ„์ด ํ•œ๊ฐ€์ง€ ์‹คํ–‰ํ•ด ๋ณผ ์ˆ˜ ์žˆ๋Š” ์•„์ด๋””์–ด ์ž…๋‹ˆ๋‹ค.
02:43
When you get a poem on a billboard or on the radio
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์—ฌ๋Ÿฌ๋ถ„์ด ๊ด‘๊ณ ํŒ์ด๋‚˜ ๋ผ๋””์˜ค์—์„œ ์‹œ๋ฅผ ๋“ค์„ ๋•Œ
02:46
or on a cereal box or whatever,
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๋˜๋Š” ์‹œ๋ฆฌ์–ผ ์ƒ์ž๋‚˜ ๋˜๋Š” ๋ฌด์—‡์ด๋“ ์ง€ ๊ฐ„์—,
02:48
it happens to you so suddenly
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๊ทธ๊ฑด ๋„ˆ๋ฌด ๊ฐ‘์ž๊ธฐ ์ผ์–ด๋‚˜๊ธฐ์—
02:50
that you don't have time
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๊ณ ๋“ฑํ•™๊ต ์‹œ์ ˆ์— ๊ตฌ์ถ•๋˜์—ˆ์„
02:52
to deploy your anti-poetry deflector shields
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์‹œ์— ๋Œ€ํ•œ ๊ฑฐ๋ถ€๋ฐ˜์‘์ด ์ผ์–ด๋‚ 
02:56
that were installed in high school.
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์‹œ๊ฐ„์ด ์—†๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
03:01
So let us start with the first one.
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ํ•ด์„œ, ์ฒซ๋ฒˆ์งธ ์ž‘ํ’ˆ๋ถ€ํ„ฐ ์‹œ์ž‘ํ•ด๋ณด์ฃ .
03:04
It's a little poem called "Budapest,"
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๊ทธ๊ฒƒ์€ "Budapest"๋ผ๋Š” ์งง์€ ์‹œ ์ž…๋‹ˆ๋‹ค.
03:07
and in it I reveal,
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๊ทธ๋ฆฌ๊ณ  ์ด ์‹œ๋ฅผ ํ†ตํ•ด ์ €๋Š”
03:09
or pretend to reveal,
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์ฐฝ์ž‘ ๊ณผ์ •์˜ ๋น„๋ฐ€์„ ๊ณต๊ฐœํ•˜๊ฑฐ๋‚˜,
03:11
the secrets of the creative process.
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๋˜๋Š” ๊ณต๊ฐœํ•˜๋Š” ์ฒ™ํ•˜๋ ค ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:16
(Video) Narration: "Budapest."
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(๋น„๋””์˜ค) ๋‚˜๋ ˆ์ด์…˜: "Budapest."
03:18
My pen moves along the page
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๋‚ด ํŽœ์€ ํŽ˜์ด์ง€๋ฅผ ๋”ฐ๋ผ
03:21
like the snout of a strange animal
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์‚ฌ๋žŒ์˜ ํŒ” ๋ชจ์–‘์„ ํ•œ ์ด์ƒํ•œ ๋™๋ฌผ์˜
03:24
shaped like a human arm
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์ฃผ๋‘ฅ์•„๋ฆฌ์ฒ˜๋Ÿผ ์›€์ง์ด๊ณ 
03:26
and dressed in the sleeve
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๋…น์ƒ‰์˜ ํ›„์ค„๊ทธ๋ ˆํ•œ ์Šค์›จํ„ฐ์˜
03:28
of a loose green sweater.
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์†Œ๋งค๋ฅผ ์ž…์€ ๊ฒƒ ๊ฐ™๋‹ค.
03:30
I watch it sniffing the paper ceaselessly,
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๋‚œ ๊ทธ๊ฒƒ์ด ์–ด๋–ค ๋จน์ด ํƒ์ƒ‰๋Œ€์›์ฒ˜๋Ÿผ
03:33
intent as any forager
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์ž์‹ ์„ ์—ฐ๋ช…ํ•˜๊ฒŒ ํ•  ์ˆ˜ ์žˆ๋Š”
03:36
that has nothing on its mind
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๋•…๋ฒŒ๋ ˆ์™€ ๊ณค์ถฉ์ด์™ธ์—๋Š” ์–ด๋–ค ๊ฒƒ์—๋„
03:38
but the grubs and insects
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๊ด€์‹ฌ์ด ์—†๋Š” ๋“ฏ
03:41
that will allow it to live another day.
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๊ทธ๊ฒƒ์ด ๋Š์ž„์—†์ด ์ข…์ด๋ฅผ ํ‚ํ‚๊ฑฐ๋ฆฌ๋Š” ๊ฒƒ์„ ๋ณด์•˜๋‹ค.
03:44
It wants only to be here tomorrow,
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๊ทธ๊ฒƒ์€ ๋‹จ์ง€ ๋‚ด์ผ ์—ฌ๊ธฐ ์žˆ๊ณ ์ž ํ•  ๋ฟ,
03:47
dressed perhaps
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์–ด์ฉŒ๋ฉด ๊ฒฉ์ž ๋ฌด๋Šฌ
03:49
in the sleeve of a plaid shirt,
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์…”์ธ  ์†Œ๋งค๋ฅผ ์ž…๊ณ 
03:51
nose pressed against the page,
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์ฝ”๋ฅผ ํŽ˜์ด์ง€์— ํŒŒ๋ฌป๊ณ 
03:53
writing a few more dutiful lines
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๋ช‡ ์ค„์„ ๋„์ ์ผ ๋ฟ์ด์—ˆ๋‹ค.
03:57
while I gaze out the window
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๋‚ด๊ฐ€ ์ฐฝ ๋ฐ–์„ ๋‚ด๋‹ค๋ณด๋ฉฐ
03:59
and imagine Budapest
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Budapest ํ˜น์€ ๊ฐ€ ๋ณธ ์ ์ด ์—†๋Š”
04:01
or some other city
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๋‹ค๋ฅธ ์–ด๋–ค ๋„์‹œ๋ฅผ
04:03
where I have never been.
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์ƒ์ƒํ•˜๊ณ  ์žˆ๋Š” ๋™์•ˆ ๋ง์ด๋‹ค.
04:07
BC: So that makes it seem a little easier.
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BC: ์กฐ๊ธˆ ์‰ฝ๊ฒŒ ์„ค๋ช…์„ ํ•˜์ž๋ฉด.
04:10
(Applause)
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(๋ฐ•์ˆ˜)
04:12
Writing is not actually as easy as that for me.
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๊ธ€์“ฐ๊ธฐ๋Š” ์ €์—๊ฒŒ ์‹ค์ œ๋กœ ๊ทธ๋ ‡๊ฒŒ ์‰ฝ์ง€๋Š” ์•Š์Šต๋‹ˆ๋‹ค.
04:16
But I like to pretend that it comes with ease.
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ํ•˜์ง€๋งŒ ์ „ ๊ทธ๊ฒƒ์ด ์ œ๊ฒŒ ์‰ฝ๊ฒŒ ๋‹ค๊ฐ€์˜ค๋Š” ์ฒ™ํ•˜๊ธธ ์ข‹์•„ํ•˜์ฃ .
04:21
One of my students came up after class, an introductory class,
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์ œ ํ•™์ƒ ์ค‘ ํ•˜๋‚˜๋Š” ๊ฐœ๋ก  ์ˆ˜์—…์ด ๋๋‚˜๊ณ  ์™€์„œ ๋ฌป๊ธธ,
04:24
and she said, "You know, poetry is harder than writing,"
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"์•„์‹œ๋‹ค์‹œํ”ผ, ์‹œ๋ฅผ ์“ฐ๋Š” ๊ฒƒ์„ ๊ธ€์“ฐ๊ธฐ๋ณด๋‹ค ์–ด๋ ค์›Œ์š”."
04:29
which I found both erroneous and profound.
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์ œ๊ฐ€ ์ž˜๋ชป๋œ ๋™์‹œ์— ๋งค์šฐ ๊นŠ์ด์žˆ๋‹ค๊ณ  ๋Š๋ผ๋Š” ๋ง์ž…๋‹ˆ๋‹ค.
04:32
(Laughter)
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(์›ƒ์Œ)
04:35
So I like to at least pretend it just flows out.
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ํ•ด์„œ ์ „ ์ ์–ด๋„ ๊ทธ๋ƒฅ ํ˜๋Ÿฌ๋‚˜์˜ค๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๊ฒŒ ํ•˜๊ณ ์‹ถ์Šต๋‹ˆ๋‹ค.
04:38
A friend of mine has a slogan; he's another poet.
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์ œ ์‹œ์ธ ์นœ๊ตฌ ํ•˜๋‚˜๋Š” ์Šฌ๋กœ๊ฑด์ด ํ•˜๋‚˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:41
He says that, "If at first you don't succeed,
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"์ฒ˜์Œ ์‹œ๋„์— ์„ฑ๊ณต์น˜ ์•Š์œผ๋ฉด,
04:44
hide all evidence you ever tried."
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๋‹น์‹ ์ด ์‹œ๋„ํ–ˆ๋‹ค๋Š” ๋ชจ๋“  ์ฆ๊ฑฐ๋ฅผ ์ˆจ๊ฒจ๋ผ."
04:47
(Laughter)
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(์›ƒ์Œ)
04:49
The next poem is also rather short.
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๋‹ค์Œ ์‹œ ๋˜ํ•œ ๋น„๊ต์  ์งง์Šต๋‹ˆ๋‹ค.
04:52
Poetry just says a few things in different ways.
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์‹œ๋Š” ๊ทธ์ € ๋ช‡ ๊ฐ€์ง€๋ฅผ ๋‹ค๋ฅธ ๋ฐฉ์‹์œผ๋กœ ์–˜๊ธฐํ•˜์ฃ .
04:55
And I think you could boil this poem down to saying,
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๊ทธ๋ฆฌ๊ณ , ์ด ์‹œ๊ฐ€ ๋งํ•˜๊ณ ์ž ํ•œ ๋ฐ”๋ฅผ ํ•œ๋ฌธ์žฅ์œผ๋กœ ์ค„์ด์ž๋ฉด,
04:58
"Some days you eat the bear, other days the bear eats you."
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"์–ด๋–ค ๋‚ ์€ ๋‹น์‹ ์ด ๊ณฐ์„ ๋จน๊ณ , ๋‹ค๋ฅธ ๋‚ ์€ ๊ณฐ์ด ๋‹น์‹ ์„ ๋จน๋Š”๋‹ค."
05:01
And it uses the imagery
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๊ทธ๋ฆฌ๊ณ  ์ด ์‹œ๋Š” ์ธํ˜•์˜ ์ง‘ ๊ฐ€๊ตฌ๋“ค์„
05:03
of dollhouse furniture.
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ํ˜•์ƒํ™”ํ•ฉ๋‹ˆ๋‹ค.
05:05
(Video) Narration: "Some Days."
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(๋น„๋””์˜ค) ๋‚˜๋ ˆ์ด์…˜: "์–ด๋–ค ๋‚ "
05:09
Some days
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์–ด๋–ค ๋‚ 
05:11
I put the people in their places at the table,
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์‚ฌ๋žŒ์„ ํ…Œ์ด๋ธ”์˜ ๊ทธ๋“ค ์ž๋ฆฌ์— ๋‘๊ณ ,
05:14
bend their legs at the knees,
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์ธํ˜• ๋‹ค๋ฆฌ๋ฅผ ๊ตฌ๋ถ€๋ฆด ์ˆ˜ ์žˆ์œผ๋ฉด
05:16
if they come with that feature,
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๋ฌด๋ฆŽ์„ ๊ตฌ๋ถ€๋ ค์„œ
05:18
and fix them into the tiny wooden chairs.
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์ž‘์€ ๋‚˜๋ฌด ์˜์ž์— ๊ทธ๋“ค์„ ์•‰ํž™๋‹ˆ๋‹ค.
05:22
All afternoon they face one another,
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์˜คํ›„ ๋‚ด๋‚ด, ๊ทธ๋“ค์€ ์„œ๋กœ๋ฅผ ๋งˆ์ฃผํ•˜๊ณ ,
05:25
the man in the brown suit,
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๊ฐˆ์ƒ‰ ์–‘๋ณต์„ ์ž…์€ ๋‚จ์ž,
05:27
the woman in the blue dress --
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ํŒŒ๋ž€ ๋“œ๋ ˆ์Šค๋ฅผ ์ž…์€ ์—ฌ์ž -
05:29
perfectly motionless, perfectly behaved.
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์ž‘์€ ์›€์ง์ž„์กฐ์ฐจ ์—†์ด, ์™„๋ฒฝํ•˜๊ฒŒ ํ–‰๋™ํ•ฉ๋‹ˆ๋‹ค.
05:33
But other days I am the one
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ํ•˜์ง€๋งŒ ๋‹ค๋ฅธ ๋‚ ์—๋Š” ์ œ๊ฐ€ ๊ฐˆ๋น„ ๋ถ€์œ„๋ฅผ ์žกํžŒ ์ฑ„
05:35
who is lifted up by the ribs
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๊ธด ํƒ์ž์—์„œ ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค๊ณผ ์•‰๊ธฐ ์œ„ํ•ด์„œ
05:37
then lowered into the dining room of a dollhouse
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์ธํ˜• ์ง‘์˜ ๋‹ค์ด๋‹ ๋ฃธ์—
05:41
to sit with the others at the long table.
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๋‚ด๋ ค๋†“์•„์ง€๋Š” ์‚ฌ๋žŒ์ž…๋‹ˆ๋‹ค.
05:44
Very funny.
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๋งค์šฐ ์žฌ๋ฐŒ์ฃ .
05:46
But how would you like it
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ํ•˜์ง€๋งŒ ๋‹น์‹ ์ด ๋งŒ์•ฝ ์–ด๋Š ๋‚ , ๊ทธ๋ฆฌ๊ณ  ๊ทธ ๋‹ค์Œ ๋‚ 
05:48
if you never knew from one day to the next
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์–ด๊นจ๋Š” ๊ตฌ๋ฆ„์— ํœฉ์Œ“์ธ ์ฑ„
05:51
if you were going to spend it
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ํ™œ๋ฐœํ•œ ์‹ ์ฒ˜๋Ÿผ ๊ฑฐ๋‹๊ฑฐ๋‚˜,
05:53
striding around like a vivid god,
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ํ˜น์€ ๋ฒฝ์ง€ ํ•œ ๊ฐ€์šด๋ฐ ์•„๋ž˜์—์„œ
05:56
your shoulders in the clouds,
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๋‹น์‹ ์˜ ํ”Œ๋ผ์Šคํ‹ฑ ์–ผ๊ตด๋กœ
05:59
or sitting down there
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์ •๋ฉด์„ ์‘์‹œํ•œ ์ฑ„
06:01
amidst the wallpaper
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๊ทธ ๊ณณ์— ์•‰์•„์„œ
06:03
staring straight ahead
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์‹œ๊ฐ„์„ ๋ณด๋‚ผ์ง€ ์•„๋‹์ง€ ์ „ํ˜€ ๋ชจ๋ฅธ๋‹ค๋ฉด
06:05
with your little plastic face?
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์–ด๋– ์‹œ๊ฒ ์Šต๋‹ˆ๊นŒ?
06:11
(Applause)
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(๋ฐ•์ˆ˜)
06:16
BC: There's a horror movie in there somewhere.
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BC: ์ € ์˜์ƒ์—” ์•ฝ๊ฐ„ ๊ณตํฌ ๋ฌด๋น„ ๊ฐ™์€ ๋ถ€๋ถ„์ด ์žˆ๋„ค์š”.
06:19
The next poem is called forgetfulness,
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๋‹ค์Œ ์‹œ๋Š” ๊ฑด๋ง์ฆ์ด๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
06:21
and it's really just a kind of poetic essay
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๊ทธ๋ฆฌ๊ณ  ์ด ์‹œ๋Š” ์ •์‹ ์  ์‡ ํ‡ด๋ผ๋Š” ์ฃผ์ œ์— ๊ด€ํ•œ
06:23
on the subject of mental slippage.
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์ผ์ข…์˜ ์‹œ ์—์„ธ์ด์ž…๋‹ˆ๋‹ค.
06:27
And the poem begins
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๊ทธ๋ฆฌ๊ณ  ๊ทธ ์‹œ๋Š” ๋ˆ„๊ตฐ๊ฐ€๊ฐ€
06:29
with a certain species of forgetfulness
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๋ฌธํ•™์  ๊ธฐ์–ต ์ƒ์‹ค์ฆ์ด๋ผ ์ผ์ปซ๋Š”
06:32
that someone called
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๊ฑด๋ง์ฆ์˜ ํŠน์ •ํ•œ ๋ถ€๋ถ„์œผ๋กœ
06:34
literary amnesia,
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์‹œ์ž‘์„ ํ•ฉ๋‹ˆ๋‹ค.
06:36
in other words, forgetting the things that you have read.
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๋ฐ”๊ฟ” ๋งํ•˜์ž๋ฉด, ์—ฌ๋Ÿฌ๋ถ„์ด ์ฝ์œผ์…จ๋˜ ๊ฒƒ๋“ค์„ ์žŠ์–ด๋ฒ„๋ฆฌ๋Š” ๊ฒ๋‹ˆ๋‹ค.
06:43
(Video) Narration: "Forgetfulness."
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(๋น„๋””์˜ค) ๋‚˜๋ ˆ์ด์…˜: "๊ฑด๋ง์ฆ."
06:45
The name of the author is the first to go,
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์ž‘๊ฐ€์˜ ์ด๋ฆ„์ด ์ œ์ผ ๋จผ์ € ์žŠํ˜€์งˆ ๊ฒƒ์ด๊ณ ,
06:48
followed obediently
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๊ทธ ๋‹ค์Œ์œผ๋กœ๋Š” ์ž์—ฐ์Šค๋ ˆ
06:50
by the title, the plot,
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์ œ๋ชฉ์ด, ์ค„๊ฑฐ๋ฆฌ๊ฐ€,
06:52
the heartbreaking conclusion,
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๊ฐ€์Šด ์•„ํ”ˆ ๊ฒฐ๋ก ์ด,
06:54
the entire novel,
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์†Œ์„ค ์ „์ฒด๊ฐ€ ์žŠํ˜€์งˆ ๊ฒ๋‹ˆ๋‹ค.
06:56
which suddenly becomes one you have never read,
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๊ฐ‘์ž๊ธฐ ๋‹น์‹ ์ด ์ „ํ˜€ ์ฝ์–ด๋ณด์ง€๋„,
06:59
never even heard of.
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๋“ค์–ด๋ณด์ง€๋„ ๋ชปํ•œ ๊ฒƒ์ด ๋˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
07:01
It is as if, one by one,
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๊ทธ๊ฒƒ์€ ๋งˆ์น˜ ํ•˜๋‚˜ ์”ฉ ์ฐจ๋ก€๋กœ
07:03
the memories you used to harbor
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์—ฌ๋Ÿฌ๋ถ„์ด ์ˆจ๊ฒจ๋‘๋ ค๊ณค ํ–ˆ๋˜ ๊ธฐ์–ต๋“ค์ด
07:06
decided to retire to the southern hemisphere of the brain
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์ „ํ™”๊ฐ€ ํ„ฐ์ง€์ง€ ์•Š๋Š”
07:10
to a little fishing village
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๋‡Œ์˜ ๋‚จ๋ฐ˜๊ตฌ์˜ ์ž‘์€ ์–ด์ดŒ์œผ๋กœ
07:12
where there are no phones.
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์€ํ‡ดํ•˜๊ธธ ๊ฒฐ์ •ํ•œ ๊ฒƒ๊ณผ๋„ ๊ฐ™์Šต๋‹ˆ๋‹ค.
07:14
Long ago,
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์˜ค๋ž˜ ์ „,
07:16
you kissed the names of the nine muses good-bye
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๋‹น์‹ ์€ ์•„ํ™‰ ๋ฎค์ฆˆ๋“ค์˜ ์ด๋ฆ„์— ์ž‘๋ณ„ ํ‚ค์Šค๋ฅผ ํ–ˆ๊ณ 
07:19
and you watched the quadratic equation
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์ด์ฐจ ๋ฐฉ์ •์‹์ด ์ง์„ ์‹ธ๋Š” ๊ฒƒ์„
07:21
pack its bag.
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์ง€์ผœ๋ณด์•˜์ฃ .
07:23
And even now,
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์‹ฌ์ง€์–ด ์ง€๊ธˆ
07:25
as you memorize the order of the planets,
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๋‹น์‹ ์ด ํ–‰์„ฑ์˜ ์ˆœ์„œ๋ฅผ ๊ธฐ์–ตํ•˜๋Š” ์™€์ค‘์—๋„
07:27
something else is slipping away,
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๋‹ค๋ฅธ ๋ญ”๊ฐ€๊ฐ€ ์„œ์„œํžˆ ๋น ์ ธ๋‚˜๊ฐ€์ฃ .
07:29
a state flower perhaps,
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์–ด์ฉŒ๋ฉด ๊ตญ๊ฐ€ ๊ฝƒ(๊ตญํ™”)๊ฐ€,
07:31
the address of an uncle,
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์‚ผ์ดŒ์˜ ์ง‘ ์ฃผ์†Œ๊ฐ€,
07:33
the capital of Paraguay.
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ํŒŒ๋ผ๊ณผ์ด์˜ ์ˆ˜๋„๊ฐ€ ๋ง์ž…๋‹ˆ๋‹ค.
07:35
Whatever it is
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๊ทธ๊ฒŒ ๋ฌด์—‡์ด๋“ ์ง€ ๊ฐ„์—
07:37
you are struggling to remember,
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๋‹น์‹ ์€ ๊ธฐ์–ตํ•˜๋Š” ๋ฐ ์–ด๋ ค์›€์„ ๊ฒช์„ ๊ฒ๋‹ˆ๋‹ค.
07:39
it is not poised on the tip of your tongue,
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์ด ๊ธฐ์–ต์€ ์‹ฌ์ง€์–ด ๋‹น์‹  ๋‚ด์žฅ์˜
07:42
not even lurking
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์–ด๋–ค ๋ชจํ˜ธํ•œ ๊ตฌ์„์—
07:44
in some obscure corner
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์ˆจ์–ด์žˆ๋Š” ๊ฒƒ๋„ ์•„๋‹ˆ๊ณ ,
07:46
of your spleen.
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์—ฌ๋Ÿฌ๋ถ„์˜ ํ˜€ ๋์— ๋งด๋„๋Š” ๊ฒƒ๋„ ์•„๋‹™๋‹ˆ๋‹ค.
07:48
It has floated away
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์ด ๊ธฐ์–ต์€ L๋กœ ์ด๋ฆ„์ด ์‹œ์ž‘ํ•˜๋Š”
07:50
down a dark mythological river
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์‹ ํ™” ์†์—์„œ์˜ ์–ด๋‘์šด ๊ฐ•์œผ๋กœ
07:53
whose name begins with an L
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๋– ๋‚ด๋ ค ๋ฒ„๋ ค๊ฐ”์Šต๋‹ˆ๋‹ค.
07:56
as far as you can recall,
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์—ฌ๋Ÿฌ๋ถ„์ด ๊ธฐ์–ตํ•  ์ˆ˜ ์žˆ๋Š” ํ•œ,
07:58
well on your own way to oblivion
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์—ฌ๋Ÿฌ๋ถ„์ด ์‹ฌ์ง€์–ด ์ˆ˜์˜ํ•˜๋Š” ๋ฒ•์„ ๊นŒ๋จน์–ด ๋ฒ„๋ฆฐ ์‚ฌ๋žŒ๊ณผ
08:01
where you will join those
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์ž์ „๊ฑฐ ํƒ€๋Š” ๋ฒ•์„ ๊นŒ๋จน์€ ์‚ฌ๋žŒ๋“ค๊ณผ ๋งŒ๋‚˜๊ฒŒ ๋ 
08:03
who have forgotten even how to swim
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๋ง๊ฐ์œผ๋กœ์˜
08:05
and how to ride a bicycle.
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์—ฌ๋Ÿฌ๋ถ„ ์ž์‹ ๋งŒ์˜ ๊ธธ๋กœ๋„ ๋ง์ž…๋‹ˆ๋‹ค.
08:08
No wonder you rise in the middle of the night
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๋‹น์‹ ์ด ํ•œ๋ฐค์ค‘์—
08:11
to look up the date of a famous battle
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์ „์Ÿ์— ๊ด€ํ•œ ์ฑ…์—์„œ ์œ ๋ช…ํ•œ ์ „ํˆฌ์˜ ๋‚ ์งœ๋ฅผ ์ฐพ๊ณ ์ž
08:14
in a book on war.
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์ผ์–ด๋‚˜๋Š” ๊ฒƒ๋„ ๋†€๋ž์ง„ ์•Š์Šต๋‹ˆ๋‹ค.
08:16
No wonder the Moon in the window
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์ฐฝ๋ฌธ์— ๋น„์นœ ๋‹ฌ์ด
08:18
seems to have drifted out of a love poem
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๋‹น์‹ ์ด ๊ฐ€์Šด์†์œผ๋กœ ์•Œ์•„์™”๋˜ ์‚ฌ๋ž‘ ์‹œ๋กœ๋ถ€ํ„ฐ
08:21
that you used to know by heart.
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ํ˜๋Ÿฌ๋‚˜์˜จ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๋Š” ๊ฒƒ๋„ ์ด์ƒํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
08:27
(Applause)
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(๋ฐ•์ˆ˜)
08:35
BC: The next poem is called "The Country"
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BC : ๋‹ค์Œ ์‹œ๋Š” "์‹œ๊ณจ"์ด๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
08:37
and it's based on,
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๊ทธ๋ฆฌ๊ณ  ์ด ์‹œ๋Š”
08:39
when I was in college
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์ œ๊ฐ€ ๋Œ€ํ•™์—์žˆ์„ ๋•Œ๋ฅผ ๋ฐ”ํƒ•์œผ๋กœ ๋‘๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
08:41
I met a classmate who remains to be a friend of mine.
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์ €๋Š” ์ œ ์นœ๊ตฌ๋กœ ๋‚จ์„ ํ•œ ๊ธ‰์šฐ๋ฅผ ๋งŒ๋‚ฌ์Šต๋‹ˆ๋‹ค.
08:44
He lived, and still does, in rural Vermont.
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๊ทธ๋Š” Vermont ์ง€๋ฐฉ์— ์‚ด์•˜๊ณ , ์•„์ง๋„ ์‚ด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
08:46
I lived in New York City.
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์ €๋Š” ๋‰ด์š•์‹œ์—์„œ ์‚ด์•˜์Šต๋‹ˆ๋‹ค.
08:48
And we would visit each other.
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ์„œ๋กœ๋ฅผ ๋ฐฉ๋ฌธํ–ˆ์Šต๋‹ˆ๋‹ค.
08:50
And when I would go up to the country,
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๊ทธ๋ฆฌ๊ณ  ์ œ๊ฐ€ ์‹œ๊ณจ์— ๊ฐˆ ๋•Œ๋ฉด,
08:52
he would teach me things like deer hunting,
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๊ทธ๋Š” ์ €์—๊ฒŒ ์‚ฌ์Šด ์‚ฌ๋ƒฅ ๋”ฐ์œ„๋ฅผ ๊ฐ€๋ฅด์ณ์ฃผ์—ˆ๋Š”๋ฐ,
08:55
which meant getting lost with a gun basically --
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๊ฒฐ๊ตญ ์ด์„ ์žƒ์–ด๋ฒ„๋ฆฌ๊ณ  ๋งˆ๋Š” ๊ฒƒ์œผ๋กœ ๋์ด ๋‚ฌ์Šต๋‹ˆ๋‹ค.
08:58
(Laughter)
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(์›ƒ์Œ)
09:00
and trout fishing and stuff like that.
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๊ทธ๋ฆฌ๊ณ  ์†ก์–ด ๋‚š์‹œ ๊ฐ™์€ ๊ฒƒ๋“ค๋„ ๊ฐ€๋ฅด์ณ์ฃผ์—ˆ์ฃ .
09:02
And then he'd come down to New York City
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๊ทธ ๋‹ค์Œ์—” ๊ทธ๊ฐ€ ๋‰ด์š•์‹œ์— ์™”๊ณ 
09:04
and I'd teach him what I knew,
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์ €๋Š” ์ฃผ๋กœ ๋‹ด๋ฐฐ์™€ ์ˆ  ๊ฐ™์€
09:06
which was largely smoking and drinking.
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์ œ๊ฐ€ ์•Œ์•˜๋˜ ๊ฒƒ์„ ๊ทธ์—๊ฒŒ ๊ฐ€๋ฅด์ณ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
09:08
(Laughter)
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(์›ƒ์Œ)
09:10
And in that way we traded lore with each other.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋Ÿฐ ๋ฐฉ์‹์œผ๋กœ ์ €ํฌ๋Š” ์„œ๋กœ ๋ฌธํ™”๋ฅผ ์ฃผ๊ณ ๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.
09:13
The poem that's coming up
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์ด์ œ ๋‚˜์˜ฌ ์‹œ๋Š”
09:15
is based on him trying to tell me a little something
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์ฒ˜์Œ์—” ์ œ๊ฐ€ ๊ต‰์žฅํžˆ ํž˜๋“ค์–ด ํ–ˆ๋˜
09:18
about a domestic point of etiquette
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์‹œ๊ณจ์—์„œ์˜ ์‚ถ์—์„œ์˜
09:20
in country living
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๊ทธ ์ง€์—ญ๋งŒ์˜ ์—ํ‹ฐ์ผ“์— ๋Œ€ํ•ด ์ œ๊ฒŒ ์–ด๋–ค ๊ฒƒ์„
09:22
that I had a very hard time, at first, processing.
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๋งํ•˜๋ ค ํ–ˆ๋˜ ๊ทธ๋ฅผ ๋ฐ”ํƒ•์œผ๋กœ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
09:24
It's called "The Country."
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์ด ์‹œ๋Š” "์‹œ๊ณจ"์ด๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
09:26
(Video) Narration: "The Country."
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(๋น„๋””์˜ค) ๋‚˜๋ ˆ์ด์…˜ : "์‹œ๊ณจ."
09:29
I wondered about you
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์ €๋Š” ๋‹น์‹ ์ด ์ œ๊ฒŒ
09:31
when you told me never to leave
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์–ด๋””์—๋‹ค ๋†”๋„ ์ผœ์ง€๋Š” ์„ฑ๋ƒฅ๋“ค์ด ๋“ค์€ ๋ฐ•์Šค๋ฅผ
09:33
a box of wooden strike-anywhere matches
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๊ทธ๋ƒฅ ์ง‘์— ๋‚˜๋’น๊ตด๊ฒŒ ํ•˜๊ณ  ๋– ๋‚˜์ง€ ๋ง๋ผ๊ณ  ํ–ˆ์„ ๋•Œ
09:36
just lying around the house,
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๋‹น์‹ ์ด ์ด์ƒํ–ˆ์Šต๋‹ˆ๋‹ค.
09:39
because the mice might get into them
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์ฅ๋“ค์ด ๊ทธ ์•ˆ์— ๋“ค์–ด๊ฐ€์„œ
09:41
and start a fire.
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๋ถˆ์žฅ๋‚œ์„ ์‹œ์ž‘ํ•  ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
09:43
But your face was absolutely straight
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ํ•˜์ง€๋งŒ ๋‹น์‹ ์ด ์„ฑ๋ƒฅ๋“ค์€ ํ•ญ์ƒ ์•ˆ์ „ํ•˜๊ฒŒ ์ง‘์–ด๋„ฃ์–ด์ ธ ์žˆ๋‹ค๋˜
09:46
when you twisted the lid down
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๋‘ฅ๊ทผ ํ†ต์˜ ๋šœ๊ป‘์„ ๋ฎ์—ˆ์„ ๋•Œ
09:48
on the round tin
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๋‹น์‹ ์˜ ํ‘œ์ •์€
09:50
where the matches, you said, are always stowed.
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์ •๋ง๋กœ ์ฒœ์—ฐ๋•์Šค๋Ÿฌ์› ์Šต๋‹ˆ๋‹ค.
09:53
Who could sleep that night?
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๋ˆ„๊ฐ€ ๊ทธ๋‚  ๋ฐค ์ž ์„ ์ž˜ ์ˆ˜ ์žˆ์„๊นŒ?
09:55
Who could whisk away the thought
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๋ˆ„๊ฐ€ ์ด ์‚ฌ์ด์˜ ๋ฐ”๋Š˜๋“ค ์‚ฌ์ด์— ์žˆ๋Š”
09:57
of the one unlikely mouse
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ํ•˜๋‚˜์˜ ๋‚˜๋ฌด ์„ฑ๋ƒฅ์„ ๊ฐ์‹ธ๊ณ  ์žˆ๋Š”
10:00
padding along a cold water pipe
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๊ฝƒ๋ฌด๋Šฌ ๋ฒฝ์ง€ ๋’ค์˜
10:03
behind the floral wallpaper,
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์ฐจ๊ฐ€์šด ๋ฐฐ์ˆ˜๊ด€์„ ๋”ฐ๋ผ ์ง€๋‚˜๊ฐ€๋Š”
10:05
gripping a single wooden match
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์ฅ ์ƒ๊ฐ์„
10:07
between the needles of his teeth?
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ํœ™ ์ฑ„๊ฐˆ์ˆ˜ ์žˆ์„๊นŒ?
10:10
Who could not see him rounding a corner,
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๋ˆ„๊ฐ€ ์ฝ”๋„ˆ๋ฅผ ๋„๋Š” ๊ทธ ์ฅ๋ฅผ ๋ณผ ์ˆ˜ ์—†์„๊นŒ?
10:13
the blue tip scratching against rough-hewn beam,
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ํŒŒ๋ž€ ์ด‰์ด ๋Œ€์ถฉ ๊นŽ์€ ๊ธฐ๋‘ฅ์— ๊ธํžˆ๋ฉด์„œ
10:16
the sudden flare
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๊ฐ‘์ž๊ธฐ ๋ถˆ์ด ์ผœ์ง€๊ณ 
10:18
and the creature, for one bright, shining moment,
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๊ทธ ์ฅ๋Š” ํ•œ ๋ฒˆ์˜ ๋ฐ๊ณ  ๋น›๋‚˜๋Š” ์ˆœ๊ฐ„์„ ์œ„ํ•ด
10:22
suddenly thrust ahead of his time --
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๊ทธ์˜ ์‹œ๊ฐ„์„ ๋‚ด๋˜์ง‘๋‹ˆ๋‹ค.
10:24
now a fire-starter,
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์ด์ œ๋Š” ๋ฌด์˜์‹์ ์œผ๋กœ
10:26
now a torch-bearer
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๋ถˆ์„ ์ง€ํ•€ ์ฅ์ด๊ณ ,
10:28
in a forgotten ritual,
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์ด์ œ๋Š” ํšƒ๋ถˆ์„ ๋“  ์ฅ๊ฐ€ ๋œ
10:30
little brown druid
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๊ณ ๋Œ€์˜ ๋ฐค์„ ๋ฐํžŒ
10:32
illuminating some ancient night?
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์ž‘์€ ๊ฐˆ์ƒ‰ ๋“œ๋ฃจ์ด๋“œ[๊ณ ๋Œ€ ์„ฑ์ง์ž ์ด๋ฆ„] ์ƒ๊ฐ์„ ๋‚š์•„์ฑ„ ๊ฐˆ ์ˆ˜ ์žˆ์„๊นŒ์š”?
10:34
And who could fail to notice,
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๊ทธ๋ฆฌ๊ณ  ๋ˆ„๊ฐ€ ์ธ์ง€ํ•  ์ˆ˜ ์—†์„ ๊ฒƒ์ด๋ฉฐ
10:37
lit up in the blazing insulation,
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ํƒ€๋Š” ๋“ฏ์ด ๋”์šด ์„ฑ๋ƒฅ ์†์—์„œ
10:39
the tiny looks of wonderment
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๊ทธ์˜ ๋™๋ฃŒ ์ฅ๋“ค --ํ•œ๋•Œ ์‹œ๊ณจ์—์„œ
10:41
on the faces of his fellow mice --
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๋‹น์‹ ์˜ ์ง‘์— ์‚ด๋˜ ๊ฑฐ์ฃผ์ž์˜€๋˜--
10:44
one-time inhabitants
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๊ทธ ์ฅ๋“ค์˜ ์–ผ๊ตด์— ๋งŒ์—ฐํ•œ
10:46
of what once was your house in the country?
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๊ฐํƒ„ํ•œ ํ‘œ์ •์„ ๋ฐํžˆ๋Š” ๊ฒƒ์„ ์•Œ์•„์ฐจ๋ฆฌ์ง€ ๋ชปํ• ๊นŒ์š”?
10:50
(Applause)
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(๋ฐ•์ˆ˜)
10:53
BC: Thank you.
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BC : ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
10:55
(Applause)
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(๋ฐ•์ˆ˜)
10:57
Thank you. And the last poem is called "The Dead."
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๋งˆ์ง€๋ง‰ ์‹œ๋Š” "์ฃฝ์Œ"์ด๋ผ๊ณ ํ•ฉ๋‹ˆ๋‹ค.
11:00
I wrote this after a friend's funeral,
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์ €๋Š” ์ด ์‹œ๋ฅผ ํ•œ ์นœ๊ตฌ์˜ ์žฅ๋ก€์‹ ํ›„์— ์ผ์Šต๋‹ˆ๋‹ค๋งŒ,
11:02
but not so much about the friend as something the eulogist kept saying,
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๋ชจ๋“  ์˜ˆ์ฐฌ์ž๋“ค์ด ์ฃฝ์–ด์„œ ์šฐ๋ฆฌ๋ฅผ ๋‚ด๋ ค๋‹ค๋ณด๋ฉฐ
11:04
as all eulogists tend to do,
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์šฐ๋ฆฌ ๋ชจ๋‘๊ฐ€ ๋ชจ์—ฌ์žˆ๋Š” ๊ฒƒ์„ ๋ณด๋Š” ๊ฒƒ์ด
11:06
which is how happy the deceased would be
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์–ผ๋งˆ๋‚˜ ํ–‰๋ณตํ•œ ๊ฒƒ์ธ์ง€ ์ข…์ข… ๋งํ•ด์™”๋“ฏ์ด,
11:09
to look down and see all of us assembled.
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์นœ๊ตฌ์˜ ์ฃฝ์Œ์— ๋Œ€ํ•œ ๊ฒƒ์ด ์ฃผ๋œ ๋‚ด์šฉ์€ ์•„๋‹™๋‹ˆ๋‹ค.
11:11
And that to me was a bad start to the afterlife,
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๊ทธ๋ฆฌ๊ณ  ์ œ๊ฒŒ ์‚ฌํ›„์— ์—ฌ๋Ÿฌ๋ถ„์˜ ์žฅ๋ก€์‹์„ ๋ณด๊ณ 
11:14
having to witness your own funeral and feel gratified.
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๋งŒ์กฑ๊ฐ์„ ๋Š๋ผ๋Š” ๊ฒƒ์€ ๋ถˆ์šดํ•œ ์‹œ์ž‘์ž…๋‹ˆ๋‹ค.
11:17
So the little poem is called "The Dead."
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๊ทธ๋ž˜์„œ ๊ทธ ์งง์€ ์‹œ๋Š” "์ฃฝ์Œ"์ด๋ผ๊ณ  ๋ถ€๋ฆ…๋‹ˆ๋‹ค.
11:21
(Video) Narration: "The Dead."
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(๋น„๋””์˜ค) ๋‚˜๋ ˆ์ด์…˜ : "์ฃฝ์Œ"
11:23
The dead are always looking down on us,
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์ฃฝ์Œ์€ ํ•ญ์ƒ ์šฐ๋ฆฌ๋ฅผ ์ง€์ผœ๋ณด๊ณ ์žˆ๋‹ค
11:26
they say.
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๊ทธ๋“ค์€ ๋งํ•œ๋‹ค.
11:28
While we are putting on our shoes or making a sandwich,
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์šฐ๋ฆฌ๊ฐ€ ์‹ ๋ฐœ์„ ์‹ ๊ฑฐ๋‚˜ ์ƒŒ๋“œ์œ„์น˜๋ฅผ ๋งŒ๋“œ๋Š” ๋™์•ˆ
11:31
they are looking down
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๊ทธ๋“ค์€ ์˜ค๋žœ ์‹œ๊ฐ„ ์ž์‹ ๋“ค ์Šค์Šค๋กœ๋ฅผ
11:33
through the glass-bottom boats of heaven
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๋‚ฎ์ถฐ๊ฐ€๋ฉด์„œ
11:36
as they row themselves slowly
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์ฒœ๊ตญ์˜ ์œ ๋ฆฌ๋ฐ”๋‹ฅ์œผ๋กœ ๋œ ๋ฐฐ๋ฅผ ํ†ตํ•ด์„œ
11:38
through eternity.
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์šฐ๋ฆฌ๋ฅผ ๋‚ด๋ ค๋‹ค๋ณด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
11:40
They watch the tops of our heads
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๊ทธ๋“ค์€ ์ง€๊ตฌ ์•„๋ž˜์—์„œ ์›€์ง์ด๋Š”
11:42
moving below on Earth.
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์šฐ๋ฆฌ๋“ค์˜ ๋จธ๋ฆฌ ๊ผญ๋Œ€๊ธฐ๋ฅผ ์ง€์ผœ๋ด…๋‹ˆ๋‹ค.
11:44
And when we lie down
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๊ฐ€ ๋“คํŒ์ด๋‚˜ ๊ธด ์˜์ž์—
11:46
in a field or on a couch,
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๋งˆ์•ฝ์ด๋ผ๋„ ํ•œ ๋“ฏ์ด
11:48
drugged perhaps
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๋”ฐ๋“ฏํ•œ ์˜คํ›„๋ฅผ ํฅ์–ผ๊ฑฐ๋ฆฌ๋ฉด์„œ ๋ˆ„์› ์„ ๋•Œ,
11:50
by the hum of a warm afternoon,
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๊ทธ๋“ค์€ ์šฐ๋ฆฌ๊ฐ€ ๊ทธ๋“ค์„
11:53
they think we are looking back at them,
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๋’ค๋Œ์•„ ๋ณผ ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ•˜๋Š”๋ฐ,
11:56
which makes them lift their oars
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๊ทธ๊ฒƒ์€ ๊ทธ๋“ค์˜ ๋…ธ๋ฅผ ๋“ค์–ด
11:58
and fall silent
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์กฐ์šฉํžˆ ๋–จ์–ด๋œจ๋ฆฌ๋ฉด์„œ
12:00
and wait like parents
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์šฐ๋ฆฌ๊ฐ€ ๋ˆˆ์„ ๊ฐ์„ ์ˆ˜ ์žˆ๋„๋ก
12:03
for us to close our eyes.
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๋ถ€๋ชจ์ฒ˜๋Ÿผ ๊ธฐ๋‹ค๋ฆฌ๋Š” ๊ฒƒ๊ณผ๋„ ๊ฐ™์Šต๋‹ˆ๋‹ค.
12:08
(Applause)
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(๋ฐ•์ˆ˜)
12:15
BC: I'm not sure if other poems will be animated.
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BC : ์ €๋Š” ๋‹ค๋ฅธ ์‹œ๋“ค์ด ์• ๋‹ˆ๋ฉ”์ด์…˜ํ™”๋ ์ง€๋Š” ํ™•์‹ ํ•  ์ˆ˜ ์—†์œผ๋‚˜,
12:17
It took a long time --
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๊ทธ๊ฒƒ์€ ์˜ค๋žœ ์‹œ๊ฐ„์ด ๊ฑธ๋ ธ์Šต๋‹ˆ๋‹ค -
12:19
I mean, it's rather uncommon to have this marriage --
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์ œ ๋ง์€, ์ด๋Ÿฐ ๊ฒฐํ•ฉ(์‹œ์™€ ์—๋‹ˆ๋ฉ”์ด์…˜์˜)์„ ํ•˜๋Š” ๊ฒƒ์ด ๋น„๊ต์  ํ”ํ•˜์ง€ ์•Š๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค--
12:22
a long time to put those two together.
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๊ทธ ๋‘˜์„ ํ•œ ๋ฐ ๋ชจ์œผ๋Š” ๋ฐ ์˜ค๋ž˜ ๊ฑธ๋ ธ์Šต๋‹ˆ๋‹ค.
12:24
But then again, it took us a long time
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๋Œ์•„๊ฐ€์„œ, ์ €ํฌ๋Š” ๋ฐ”ํ€ด์™€ ์—ฌํ–‰ ๊ฐ€๋ฐฉ์„ ํ•œ๋ฐ ๋ชจ์œผ๋Š” ๋ฐ์—
12:26
to put the wheel and the suitcase together.
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๋งŽ์€ ์‹œ๊ฐ„์ด ๊ฑธ๋ ธ์Šต๋‹ˆ๋‹ค.
12:28
(Laughter)
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(์›ƒ์Œ)
12:31
I mean, we had the wheel for some time.
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์ œ ๋ง์€, ์ €ํฌ๋Š” ์–ด๋Š ๋•๊ฐ€๋Š” ๋ฐ”ํ€ด๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์—ˆ๋‹จ ๋ง์ž…๋‹ˆ๋‹ค.
12:34
And schlepping is an ancient and honorable art.
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๋˜ํ•œ ์“ธ๋ฐ ์—†๋Š” ๊ฒƒ์€ ๊ณ ๋Œ€์˜ ๊ถŒ์œ„์ ์ธ ์˜ˆ์ˆ ์ž…๋‹ˆ๋‹ค.
12:37
(Laughter)
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(์›ƒ์Œ)
12:40
I just have time
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์ „ ๋‹จ์ง€ ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ
12:42
to read a more recent poem to you.
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์ข€๋” ์ตœ๊ทผ์˜ ์‹œ๋ฅผ ์ฝ์–ด์ค„ ์‹œ๊ฐ„์ด ์žˆ๋Š” ๊ฒ๋‹ˆ๋‹ค.
12:45
If it has a subject,
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๋งŒ์•ฝ ์ด ์‹œ๊ฐ€ ์ฃผ์ œ๊ฐ€ ์žˆ๋‹ค๋ฉด,
12:48
the subject is adolescence.
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์ฃผ์ œ๋Š” ์ฒญ์†Œ๋…„๊ธฐ์ž…๋‹ˆ๋‹ค.
12:50
And it's addressed to a certain person.
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๊ทธ๋ฆฌ๊ณ  ์ด ์‹œ๋Š” ํŠน์ • ์‚ฌ๋žŒ์—๊ฒŒ ๋ณด๋‚ด์กŒ์Šต๋‹ˆ๋‹ค.
12:52
It's called "To My Favorite 17-Year-Old High School Girl."
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์ด ์‹œ๋Š” "๋‚ด๊ฐ€ ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” 17์„ธ ๊ณ ๋“ฑํ•™์ƒ ์†Œ๋…€์—๊ฒŒ"๋ผ ๋ถˆ๋ฆฝ๋‹ˆ๋‹ค.
12:58
"Do you realize that if you had started building the Parthenon
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"๋‹น์‹ ์€ ๋งŒ์•ฝ ๋‹น์‹ ์ด Parthenon์„ ๋‹น์‹ ์ด ํƒœ์–ด๋‚œ ๋‚ 
13:01
on the day you were born,
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์ง“๊ธฐ ์‹œ์ž‘ํ–ˆ๋‹ค๋ฉด,
13:03
you would be all done in only one more year?
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๋‹น์‹ ์€ ๋‹จ 1๋…„ ํ˜น์€ 2๋…„๋งŒ์— ๋ชจ๋‘ ํ•ด๋‚ผ ์ˆ˜ ์žˆ๋‹จ ๊ฒƒ์„ ์•„์‹ญ๋‹ˆ๊นŒ?
13:06
Of course, you couldn't have done that all alone.
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๋ฌผ๋ก , ๋‹น์‹  ํ˜ผ์ž์„  ๋ถˆ๊ฐ€๋Šฅ ํ–ˆ๊ฒ ์ฃ .
13:08
So never mind;
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๊ฑฑ์ •ํ•˜์ง€ ๋งˆ์„ธ์š”.
13:10
you're fine just being yourself.
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๋‹น์‹ ์€ ๋‹จ์ง€ ๋‹น์‹  ์ž์ฒด๋กœ ํ›Œ๋ฅญํ•œ๊ฒ๋‹ˆ๋‹ค.
13:12
You're loved for just being you.
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๋‹น์‹ ์€ ๋‹น์‹ ์œผ๋กœ์จ ์‚ฌ๋ž‘๋ฐ›์Šต๋‹ˆ๋‹ค.
13:15
But did you know that at your age
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ํ•˜์ง€๋งŒ ๋‹น์‹ ์€ ๋‹น์‹ ์˜ ๋‚˜์ด์—
13:17
Judy Garland was pulling down 150,000 dollars a picture,
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Judy Garland๊ฐ€ ๊ทธ๋ฆผ ํ•˜๋‚˜์— 150,000 ๋‹ฌ๋Ÿฌ๋ฅผ ๋ฒŒ์–ด๋“ค์˜€์œผ๊ณ ,
13:22
Joan of Arc was leading the French army to victory
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Joan of Arc๊ฐ€ ํ”„๋ž‘์Šค ๊ตฐ๋Œ€๋ฅผ ์Šน๋ฆฌ๋กœ ์ด๋Œ์—ˆ์œผ๋ฉฐ
13:26
and Blaise Pascal had cleaned up his room --
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Blaise Pascal์ด ๊ทธ์˜ ๋ฐฉ์„ ์ฒญ์†Œํ–ˆ๋‹จ ๊ฑธ ์•„์‹œ๋‚˜์š”?
13:29
no wait, I mean he had invented the calculator?
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์•„๋‹ˆ ์ž ๊น, ๊ทธ๋Š” ๊ณ„์‚ฐ๊ธฐ๋„ ๋ฐœ๋ช…ํ–ˆ๋‹ค์ฃ ?
13:33
Of course, there will be time for all that
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๋ฌผ๋ก , ๋‹น์‹ ์ด ๋‹น์‹ ์˜ ๋ฐ”์—์„œ ๋‚˜์™€์„œ
13:35
later in your life,
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๋งŒ๊ฐœํ•˜๊ธฐ ์‹œ์ž‘ํ•  ๋•Œ,
13:37
after you come out of your room
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ํ˜น์€ ์ตœ์†Œํ•œ ๋ชจ๋“  ์—ฌ๋Ÿฌ๋ถ„์˜ ์–‘๋ง์„ ์ฃผ์šธ ๋•Œ
13:39
and begin to blossom,
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๊ทธ ๋ชจ๋“  ๊ฒƒ์„ ํ•  ์ˆ˜ ์žˆ๋Š”
13:41
or at least pick up all your socks.
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์‹œ๊ฐ„์ด ์žˆ์Šต๋‹ˆ๋‹ค.
13:45
For some reason I keep remembering
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๋ฌด์Šจ ์ด์œ ์ธ์ง€ ์ €๋Š” Lady Jane Grey๊ฐ€
13:47
that Lady Jane Grey was queen of England
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๊ทธ๋…€๊ฐ€ ๋‹จ 15์‚ด์ผ ๋•Œ ์˜๊ตญ์˜ ์—ฌ์™•์ด์—ˆ๋‹จ ๊ฒƒ์„
13:49
when she was only 15.
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๊ธฐ์–ตํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
13:52
But then she was beheaded, so never mind her as a role model.
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ํ•˜์ง€๋งŒ ๊ทธ๋…€๋Š” ๊ณง ์ฐธ์ˆ˜๋‹นํ–ˆ์œผ๋‹ˆ, ๊ทธ๋…€๋ฅผ ๋กค๋ชจ๋ธ๋กœ ์‚ผ์ง„ ๋งˆ์„ธ์š”.
13:55
(Laughter)
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(์›ƒ์Œ)
13:58
A few centuries later,
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๋ช‡ ์„ธ๊ธฐ ํ›„,
14:00
when he was your age,
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๊ทธ๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„์˜ ๋‚˜์ด์˜€์„ ๋•Œ,
14:02
Franz Schubert was doing the dishes for his family,
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Franz Schubert๋Š” ๊ทธ์˜ ๊ฐ€์กฑ์„ ์œ„ํ•ด ์„ค๊ฒ†์ด๋ฅผ ํ•˜๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค๋งŒ,
14:06
but that did not keep him
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๊ทธ๊ฒƒ์ด ๊ทธ๊ฐ€ 2๊ฐœ์˜ ๊ตํ–ฅ๊ณก๊ณผ 4๊ฐœ์˜ ์˜คํŽ˜๋ผ,
14:08
from composing two symphonies, four operas
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๊ทธ๋ฆฌ๊ณ  2๊ฐœ์˜ ์™„๋ฒฝํ•œ ์ž‘ํ’ˆ์„ ์ Š์€ ๋‚˜์ด์— ์™„์„ฑํ•˜๋Š” ๋ฐ
14:11
and two complete masses as a youngster.
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๋ฐฉํ•ด๊ฐ€ ๋˜์ง€๋Š” ์•Š์•˜์Šต๋‹ˆ๋‹ค.
14:14
(Laughter)
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(์›ƒ์Œ)
14:16
But of course, that was in Austria
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ํ•˜์ง€๋งŒ ๋ฌผ๋ก , ์—ฌ๊ธฐ Cleveland์˜ ๊ต์™ธ ์ง€์—ญ์ด ์•„๋‹Œ
14:18
at the height of Romantic lyricism,
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Austria์˜ Romantic lyricism ๊ณ ์ง€์—
14:21
not here in the suburbs of Cleveland.
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์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
14:23
(Laughter)
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(์›ƒ์Œ)
14:25
Frankly, who cares
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์†”์งํžˆ, Annie Oakley๊ฐ€ 15์‚ด์— ์‚ฌ๊ฒฉ์˜ ๋ช…์ˆ˜์˜€๊ฑด
14:27
if Annie Oakley was a crack shot at 15
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Maria Callas๊ฐ€ 17์‚ด์— Tosca์— ๋ฐ๋ท”ํ–ˆ๋‹จ ๊ฒƒ์„
14:30
or if Maria Callas debuted as Tosca at 17?
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๋ˆ„๊ฐ€ ์‹ ๊ฒฝ์“ฐ๊ฒ ์Šต๋‹ˆ๊นŒ?
14:34
We think you're special just being you --
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์šฐ๋ฆฌ๋Š” ์—ฌ๋Ÿฌ๋ถ„์ด ์—ฌ๋Ÿฌ๋ถ„ ์ž์ฒด๋กœ ํŠน๋ณ„ํ•˜๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.--
14:37
playing with your food and staring into space.
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์—ฌ๋Ÿฌ๋ถ„์˜ ์Œ์‹๊ณผ ๋†€๊ณ  ์šฐ์ฃผ๋ฅผ ๋ฐ”๋ผ๋ณด๋Š” ๊ฒƒ--
14:40
(Laughter)
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(์›ƒ์Œ)
14:43
By the way,
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์–ด์จ‹๋“ ,
14:45
I lied about Schubert doing the dishes,
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์ €๋Š” Schubert๊ฐ€ ์„ค๊ฒ†์ดํ•œ ๊ฒƒ์— ๋Œ€ํ•ด ๊ฑฐ์ง“๋ง ํ–ˆ์œผ๋‚˜
14:48
but that doesn't mean he never helped out around the house."
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๊ทธ๊ฒƒ์ด ์ง‘์•ˆ์ผ์„ ์ „ํ˜€ ๋•์ง€ ์•Š์•˜๋‹ค๋Š” ๋œป์€ ์•„๋‹™๋‹ˆ๋‹ค.
14:51
(Laughter)
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(์›ƒ์Œ)
14:53
(Applause)
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(๋ฐ•์ˆ˜)
14:55
Thank you. Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
14:58
(Applause)
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(๋ฐ•์ˆ˜)
15:03
Thanks.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
15:05
(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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