Name: 羅伯特-弗羅斯特如何寫詩 (How Robert Frost Writes A Poem)
Uploaded: 2025-05-23T05:20:49.000Z
Duration: 9 min 45 s

轉承詞

He will not see me stopping here to watch his woods fill up with snow.

他不會看到我停在這裡，看著他的樹林被雪填滿。

My little horse must think it queer to stop without a farmhouse near, between the woods and frozen lake, the darkest evening of the year.

在這一年中最黑暗的傍晚，我的小馬一定覺得在樹林和結冰的湖泊之間，在沒有農舍的情況下停下來很奇怪。

He gives his harness bells a shake to ask if there is some mistake.

他搖了搖馬具鈴鐺，詢問是否出了什麼差錯。

The only other sounds the sweep of easy wind and downy flake.

唯一的其他聲音是輕柔的風聲和簌簌的落葉聲。

The woods are lovely, dark and deep, but I have promises to keep, and miles to go before

森林是可愛的，幽暗而深邃，但我還有諾言要遵守，還有數英里的路要走。

我睡著了，在我睡著之前還有幾英里要走。

That's Stopping by Woods on a Snowy Evening by Robert Frost, read by the man himself.

這就是羅伯特-弗羅斯特（Robert Frost）的《雪夜停在樹林旁》（Stopping by Woods on a Snowy Evening），由他本人朗讀。

It's probably his second most famous poem after The Road Not Taken, but it's my favorite, and it's the perfect poem for these frigid snowy days of late January.

這可能是他僅次於《未走的路》的第二首名詩，但卻是我最喜歡的一首，也是一月底寒冷的雪天裡最適合的一首詩。

In about 20 minutes, they flowed through him and onto the page at astonishing speed.

在大約 20 分鐘的時間裡，這些作品以驚人的速度從他的筆下流淌到紙上。

But those 20 minutes came after decades of work on his craft, decades of stitching and unstitching, as Yeats said, to finally arrive at this gemstone of a poem.

但這 20 分鐘是他經過數十年的創作，數十年的縫合和拆線，正如葉芝所說，才最終成就了這首寶石般的詩歌。

What draws me in is the crystalline clarity of the imagery.

You instantly picture this quiet, wintry evening scene that Frost conjures.

你會立刻想象出弗羅斯特所描繪的這個寧靜、寒風凜冽的傍晚場景。

A wagon driver passing by a woodland stops for a moment to watch those woods fill up with snow, until his horse snaps him out of his reverie and he prepares to ride on to his destination.

一位馬車伕路過一片林地，駐足觀看片刻，直到馬兒把他從沉思中喚醒，他才準備騎馬前往目的地。

Now, what that destination is, we don't know.

至於目的地是哪裡，我們不得而知。

How long he stopped, a second or an hour, we don't know.

他停了多久，一秒鐘還是一個小時，我們不得而知。

The poem takes place in a liminal space outside of time.

這首詩發生在時間之外的邊緣空間。

We've all found ourselves in spaces like that, usually alone, often in nature, where time and space are not divided and structured in human ways.

我們都曾在這樣的空間中發現自己，通常是獨自一人，經常是在大自然中，那裡的時間和空間沒有人類的劃分和結構。

What's interesting is that Frost evokes this feeling precisely by structuring time and space in a human way.

有趣的是，弗羅斯特正是通過以人類的方式構建時間和空間來喚起這種感覺的。

That's what a poem is, stanza, verse, line, meter, rhyme.

這就是詩，詩節、詩句、詩行、格律、韻律。

These are structures, often quite rigid ones, placed on language.

這些都是加在語言上的結構，通常相當僵化。

This poem, for example, has four quatrains, four stanzas of four lines.

例如，這首詩有四個四行詩，即四節四行詩。

The first three quatrains have an A-A-B-A rhyme scheme, and in the last, all four lines rhyme.

前三個四行詩採用 A-A-B-A 韻律結構，最後一個四行詩全部押韻。

Notice, by the way, that the single off-rhyme in each stanza becomes the dominant rhyme in the next, carrying you forward through the poem.

順便注意一下，每一節中的單個偏韻都會成為下一節中的主韻，帶著你穿越整首詩。

Another thing carrying you forward is the meter, which is a perfect iambic tetrameter, never deviating, not for a syllable.

另一個推動你前進的因素是節拍，它是完美的四音節，從未偏離，一個音節也沒有。

Frost uses this metronomic rhythm, a rigorous structuring of language in time, to hypnotize the reader, to cast a spell that removes them from time, like the narrator is in his quiet contemplation of the woods.

弗羅斯特利用這種節拍節奏，在時間中嚴謹地組織語言，對讀者進行催眠，施展魔咒，讓讀者脫離時間，就像敘述者在森林中靜靜沉思一樣。

But the seeming simplicity of the imagery, phrasing, and structure of this poem conceals a lot of subtlety, and that's on purpose.

但是，這首詩的意象、措辭和結構看似簡單，卻隱藏著許多微妙之處，而這是有意為之的。

As Professor Langdon Hammer puts it, Frost masks himself in obviousness.

正如蘭登-哈默教授所說，弗羅斯特用顯而易見來掩飾自己。

Unlike his modernist contemporaries like T.S.

與他同時代的現代主義作家如 T.S.

Eliot, whose poetry is often difficult to parse on first or tenth reading, alluding to all kinds of obscure sources, Frost's poetry is accessible.

艾略特的詩歌在初讀或十讀時往往難以理解，暗指各種晦澀難懂的來源，而弗羅斯特的詩歌則通俗易懂。

It uses conversational phrasing, what he called the sound of sense.

它使用娓娓道來的措辭，他稱之為 "有意義的聲音"。

For Frost, the sound of sense is the rhythm and tone that carry our words in everyday speech.

在弗羅斯特看來，"感官之音 "就是我們日常言語中的節奏和語調。

The best way to understand what he means, according to him, is to listen to people talking behind a door, so that the words are so muffled that you can't make them out.

他認為，要理解他的意思，最好的辦法就是在門後聽別人說話，這樣說話聲就會很低，讓人聽不清楚。

That's how you can hear the line sentencing, the up and down, the melodies, the talking, we're all singing all the time.

這樣你才能聽到臺詞的宣判、上下起伏、旋律、說話，我們一直都在唱歌。

Too often, poets disregard the sound of sense, and according to Frost, this can make their poetry dull.

弗羅斯特認為，詩人往往無視感官的聲音，這會使他們的詩歌變得枯燥乏味。

Often the sound of sense in Frost's poetry exists in tension with the meter.

在弗羅斯特的詩歌中，感覺的聲音往往與格律存在緊張關係。

We don't read this poem in the metronomic way that I did just a second ago, we read it according to the sounds of sense.

我們讀這首詩時，並不像我剛才那樣按節拍來讀，而是根據感覺的聲音來讀。

You can hear Frost himself reading it that way.

你可以聽到弗羅斯特自己這樣朗讀。

My little horse must think it queer to stop without a farmhouse ne'er, between the woods and frozen lake, the darkest evening of the year, gives his harness belt a shake to ask if there is some mistake.

在一年中最黑暗的夜晚，我的小馬一定覺得在沒有農舍的地方停下來很奇怪，在樹林和結冰的湖泊之間，搖一搖它的馬具帶，問問是否出了什麼差錯。

The tension here is subtle, but important.

這裡的張力很微妙，但很重要。

It echoes the central tension of the poem, the perfect solitude of the dark, lovely woods which, like the perfect meter, entices the wagon driver into a mystical place outside space and time, versus the real world of deadlines and promises and people who speak in irregular forms.

它呼應了這首詩的核心張力，即幽暗可愛的樹林中的完美孤獨，就像完美的節拍一樣，引誘馬車伕進入時空之外的神祕之地，而現實世界則是期限、承諾和以不規則形式說話的人。

The more you look at this poem, the more you see the real world intruding on the narrator's meditative moment.

你越看這首詩，就越能看到現實世界對敘述者冥想時刻的侵擾。

It starts at the beginning with this first clause, whose woods these are, instantly bringing another person into the poem and calling out his ownership of the woods.

開頭的第一個分句 "這是誰的樹林"，一下子將另一個人帶入詩中，並呼喚出他對這片樹林的所有權。

Nature, this magical, timeless realm beguiling the narrator, has been carved up and made the legal property of some guy.

大自然，這個令敘述者著迷的神奇而永恆的領域，已經被瓜分，成為某些人的合法財產。

What's more, this guy lives in the village, a man-made settlement full of other people.

更重要的是，這個人就住在村子裡，一個到處都是人的人造定居點。

Here he is again in the third line, and in the fourth line, another reminder of his ownership of the woods.

在這裡，他再次出現在第三行，在第四行，再次提醒人們他對森林的所有權。

In the second stanza, we get the mention of a farmhouse.

Even though there isn't one in sight, Frost is putting the image of a human habitation like the village into the reader's mind.

儘管眼前並沒有村莊，但弗羅斯特卻在讀者的腦海中留下了村莊這樣一個人類居住地的形象。

And then we have the darkest evening of the year, which situates the poem in time.

然後是一年中最黑暗的夜晚，它將這首詩置於時間之中。

It's the winter solstice, either December 21st or 22nd.

今天是冬至，12 月 21 日或 22 日。

In the final stanza, promises evokes the everyday commitments we all make, and the people that we make them to.

在最後一節中，"承諾 "喚起了我們日常做出的承諾，以及我們承諾的對象。

And miles are an arbitrary human way of dividing space.

而英里則是人類任意劃分空間的一種方式。

Everywhere you look, the real world invades the narrator's contemplation.

無論從哪個角度看，現實世界都在侵擾著敘述者的沉思。

The horse who has learned the man's routine knows that this isn't a place for stopping.

領教過這個人的套路的馬兒知道，這裡不適合停留。

And yet, despite this, the other world, the world of the snowy woods, pulls at the narrator and the reader.

然而，儘管如此，另一個世界--雪林的世界--還是牽動著敘述者和讀者的心。

Reading this poem, it's almost like sinking into a dream.

Frost encourages this transition with soft consonant sounds, like Ws, Hs, Ss, and Ls.

弗羅斯特用軟輔音（如 Ws、Hs、Ss 和 Ls）鼓勵這種過渡。

And in each stanza, the chain rhymes gently but inexorably carry you forward, until you find yourself in the final stanza, in which all the lines rhyme, and the last two repeat like a hypnotist putting you under, directing you to sleep.

在每一節中，連環韻都輕柔但不可阻擋地將你帶向前方，直到你發現自己進入了最後一節，在這一節中，所有詩行都押韻，最後兩行重複出現，就像催眠師將你催眠，引導你進入夢鄉。

I said before that the poem ends with the wagon driver preparing to move on.

我之前說過，這首詩的結尾是馬車伕準備繼續前行。

The words may suggest that, but a poem is more than just words, and Frost uses other tools with great subtlety to imply the opposite, that the narrator in fact succumbs to the snowy woods.

字裡行間或許暗示了這一點，但一首詩不僅僅是字，弗羅斯特還巧妙地使用了其他工具來暗示相反的意思，即敘述者事實上屈服於雪林。

Really, the ending preserves the tension between the two worlds, a tension that exists in all of us.

實際上，結局保留了兩個世界之間的緊張關係，這種緊張關係存在於我們每個人的心中。

Because it's winter, because it's the darkest night of the year, some critics have interpreted the woods as a symbol for death, reading a suicidal urge in this poem.

因為是冬天，因為是一年中最黑暗的夜晚，一些評論家將樹林解釋為死亡的象徵，從這首詩中讀出了自殺的衝動。

To me, the woods are an image of deathlessness, an eternal realm, a transcendent state in which the patterns we place on the world to order and control it are meaningless.

對我來說，森林是無死的意象，是永恆的境界，是一種超越的狀態，在這種狀態下，我們賦予世界以秩序和控制的模式毫無意義。

That place, of course, doesn't exist, and I'm not entirely sure we'd even want to go there if it did, but I think the idea of it offers a necessary contrast to the real world, where our care seems so big and important, where our perspective can be so myopic.

當然，那個地方並不存在，即使存在，我也不完全確定我們是否想去，但我認為這個想法與現實世界形成了必要的對比，在現實世界中，我們的關心顯得如此重要，我們的視角可能如此近視。

It's important, even healthy, to tap into that other world every once in a while.

偶爾進入另一個世界是很重要的，甚至是健康的。

You can find it in nature, in quiet, snow-filled woodland on the darkest night of the year, and you can find it in poetry, the approachable but sneakily subtle poetry of Robert Frost.

你可以在大自然中找到它，在一年中最黑暗的夜晚，在寧靜、白雪皚皚的林地中找到它，你還可以在詩歌中找到它，羅伯特-弗羅斯特平易近人卻又潛移默化的詩歌。

Hey everybody, thank you so much for watching.

大家好，非常感謝你們的收看。

I love making poetry videos and just generally following my enthusiasms wherever they go without having to worry too much about what's going to perform and what the algorithm wants.

我喜歡製作詩歌視頻，喜歡追隨自己的熱情去任何地方，而不用過多地擔心會有什麼效果，算法想要什麼。

If I was worrying about the algorithm, I definitely would not have put seven seconds of snow falling at the beginning of this video.

如果我擔心算法，我肯定不會在視頻開頭放上 7 秒鐘的下雪畫面。

I just think that when we follow our creative instincts instead of the needs of this or that platform, we make the most interesting work for you.

我只是認為，當我們遵循自己的創作本能，而不是這個或那個平臺的需求時，我們就能為你創作出最有趣的作品。

So if you want to help me continue to do that, consider supporting my Patreon at patreon.com slash nerdwriter.

是以，如果你想幫助我繼續這樣做，請考慮在 patreon.com slash nerdwriter 上支持我的 Patreon。

Even as little as a dollar per video helps a ton.

每段視頻哪怕只有一美元，也能幫上大忙。

Thank you so much, and I will see you guys next time.

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本期節目由 Squarespace 為您帶來，Squarespace 是創業者在網絡上脫穎而出並取得成功的一體化網站平臺。

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無論您是剛剛起步還是正在管理一個成長中的品牌，Squarespace 都能讓您輕鬆創建一個精美的網站。

And now you can make a completely personalized website with design intelligence, combining two decades of industry-leading design expertise with cutting edge AI technology to unlock your strongest creative potential.

現在，您可以利用設計智能製作完全個性化的網站，將二十年來行業領先的設計專業知識與尖端的人工智能技術相結合，釋放您最強大的創意潛能。

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如果您要銷售產品，Squarespace 支付也能讓您輕鬆搞定。

It's compatible with popular payment methods like Klarna, ACH Direct Debit, Apple Pay,

它與 Klarna、ACH Direct Debit 和 Apple Pay 等常用支付方式兼容、

Basically, a Squarespace site looks and feels professional, something that will impress all your customers and fans.

基本上，Squarespace 網站的外觀和感覺都很專業，會給您的所有客戶和粉絲留下深刻印象。

Head over to squarespace.com for a free trial, and when you're ready to launch, go to squarespace.com slash nerdwriter for 10% off your first purchase.

請訪問 squarespace.com 免費試用，當你準備好啟動時，請訪問 squarespace.com slash nerdwriter，首次購買可享受九折優惠。