Acquainted with the Night, Robert Frost, 밤에 익숙해지며, 프로스트

 

 

Acquainted with the Night

I have been one acquainted with the night.
I have walked out in rain—and back in rain.
I have outwalked the furthest city light.

I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.

I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,

But not to call me back or say good-bye;
And further still at an unearthly height,
One luminary clock against the sky

Proclaimed the time was neither wrong nor right. 
I have been one acquainted with the night.




The Pulitzer Prize-winning poet Robert Frost first published "Acquainted with the Night" in 1927. One of Frost's most celebrated poems, "Acquainted with the Night" is an exploration of isolation, sorrow, and despair—emotions that, to the poem's speaker, feel as inescapable as the night itself. These emotions, Frost suggests, are a universal part of the human experience. The 14-line poem is a terza rima sonnet, consisting of four tercets and a final rhyming couplet. The second line of each tercet provides the rhyme sound for the first and third lines of the following stanza (aba, bcb, cdc, and so on). 


Summary
The speaker declares that they've known the night. It was raining when the speaker began a walk across the city, and it was still raining at the end of the walk. During the walk, the speaker progressed beyond even the outermost light of the city. 

The speaker looked into the most desolate city street. The speaker also passed by a watchman patrolling the city. The speaker, however, looked down to avoid eye contact with the watchman, not wanting to talk about the reasons behind the speaker's nighttime walk. 

During the walk, the speaker stopped moving upon hearing a distant, broken-off cry. The sound of this other human's voice traveled across houses from a different street. 

However, the voice did not call the speaker to come back or bid the speaker farewell. Even more distant and higher up, the moon shone like a bright clock in the sky. 

This metaphorical clock declares that the time was not wrong or right. The speaker again says that they have known the night. 

 

Themes

Isolation, Sorrow, and Despair
The speaker of Robert Frost's “Acquainted with the Night” describes a lonely nighttime walk throughout a city. During this aimless wandering, the speaker grapples with a sense of overwhelming despair that seems to cut the speaker off from the world that surrounds them. The poem suggests that sorrow and isolation go hand-in-hand in a kind of self-perpetuating cycle. They can at times feel utterly inescapable—like walking through an endless night. 

The physical details of the city at night reflect the speaker’s mood. The speaker is “one acquainted with the night.” The night is generally associated with darkness, which, in turn, is associated with suffering and despair. Thus, the speaker’s familiarity with the “night” is also symbolic of the speaker’s familiarity with these particular emotions. Furthermore, given the sense of isolation that pervades the poem, “acquainted” is used ironically to imply that the only thing the speaker is connected to is disconnection itself. Additionally, the speaker begins and ends this walk in “rain.” Rain is often associated with sorrow, with raindrops often representing human tears. Therefore, the physical rain that surrounds the speaker is a reflection of the speaker’s sorrow. 

As the speaker continues walking, the darkness and sorrow of the surroundings intensify. The speaker walks beyond even the “furthest city light,” thus sinking further into physical darkness. In a similar vein, the speaker characterizes the “city lane” they look into as the “saddest.” The use of superlatives—"furthest” and “saddest”—reflects the heightening of the speaker’s emotions. Indeed, the speaker’s despair and sorrow seem never-ending; although the speaker continues to progress on the walk, the speaker doesn’t actually go anywhere on a figurative and emotional level. This sense of despair and sorrow is inescapable, like the night itself. 

What's more, the speaker’s feelings of suffering and despair prevent the speaker from finding solace in any companionship and preserve a state of isolation. The speaker has deliberately walked beyond “the furthest city light” and is thus on the outskirts of the city. The speaker is thus unlikely to encounter another human being to keep company with. However, even when the speaker encounters a “watchman” patrolling the city, the speaker refuses to make eye contact or speak to him. Then, the speaker hears another human voice from “far away.” The distance and darkness make it impossible for the speaker to locate the owner of the voice. Moreover, the voice does not “call [the speaker] back or say good-bye”; neither the speaker nor the other voice can make a connection with one another. Thus, though the speaker is teased with opportunities for human connection, the speaker’s inability to make that connection happen only reinforces the speaker's isolation. 

Consequently, the speaker’s walk does not provide the solace or resolution the speaker searches for. Rather, the speaker remains in the same state as the beginning. The speaker looks up at the sky for some sort of answer. However, the moon, which the speaker views as a “luminary clock,” tells them that “the time [is] neither wrong nor right.” Thus, even the moon cannot provide the speaker with any comfort or definitive answer. The speaker repeats the assertion that they are “one acquainted with the night,” making it clear that the speaker’s isolation, sorrow, and despair have not lessened or even changed. 

Furthermore, the word “one” suggests that the speaker is “one” of many who are similarly familiar with these particular emotions. And indeed, the speaker’s self-perpetuating cycle of isolation and despair exists beyond a particular reason or explanation; the reader never finds out why the speaker is so sad. As the speaker’s suffering is not unique, the poem suggests that isolation, sorrow, and despair are an inherent part of the human experience. 




밤에 익숙해지며

나는 어느새 밤에 익숙해지게 되었다. 
빗속을 홀로 거닐다 빗속에 되돌아왔다.
거리 끝 불빛 없는 곳까지 거닐다 왔다.

쓸쓸한 느낌이 드는 길거리를 바라보았다.
저녁 순시를 하는 경관이 곁을 스쳐 지나쳐도
얼굴을 숙이고 모르는 채 했다.

잠시 멈추어 서서 발소리를 죽이고
멀리서부터 들려와 다른 길거리를 통해 
집들을 건너서 그 어떤 소리가 들렸으나

그것은 나를 부르기 위해서도 아니었고 
이별을 알리기 위해서도 아니었다.
오직 멀리 이 세상 것이 아닌 것처럼 높다란 곳에
빛나는 큰 시계가 하늘에 걸려 있어

지금 시대가 나쁘지도 또 좋지도 않다고 알려 주고 있었다.
나는 어느새 밤에 익숙해지게 되었다



가로등이 없는 밤길이 좋을 때가 있다. 비를 맞으며 걷는 밤길이 좋을 때가 있다. 야경꾼 따위는 못 본채, 무작정 걷고 싶은 밤이 있다. 

그러나 이런 소망이 충족되면 고독의 짐이 내 어깨를 짓누른다. 순찰중인 야경꾼을 지날 때 “설명하기 싫어서 눈을 내리 깔았던” 까닭은 무엇인가? 고독의 길에 대한 죄의식이 작용했기 때문이다. 배타적인 길을 가는 것은 죄악이다. 그만 혼자의 길을 거두고 돌아서야 한다. 

그러기에 “또 다른 거리에서 외마디 소리가 / 여러 집 너머에서 아련하게 들렸을 때” 나는 발걸음을 멈추었다. 하지만 기대와는 달리 나와는 무관한 소리였다. 내가 세상을 외면하면 세상도 나를 외면한다. 

시내를 뒤돌아보는 나에게 멀리 보이는 시계탑은 생소하기만 하다. 시계탑 역시 나와는 무관한 시간을 잴 뿐이다. 시간은 나의 길을 인도하지 않으며 내가 옳은지 그른지 심판하지도 않는다. 

진정 내가 밤을 아는가? 내가 보내는 시간은 밤인가, 낮인가, 내가 사는 시대는 밤인가, 낮인가? 밤을 견딜 수 있는 지혜는 무엇인가? 어둠에서 반짝이는 시계의 언어를 나는 이해하는가? 과연 나는 그 밤의 의미를 아는가? 내가 되뇌는 밤의 의미는 같은가? 아니면 그 의미에 진화가 있었는가?