when we hit that time of year where every radio station switches from their normal playlists to just 24-7 Christmas, I'm one of those people who, well, I don't complain out loud, but

每年到了這個時候，每家電臺都會把正常的播放列表換成 24-7 聖誕節播放列表。

I'll mutter something under my breath if I don't think anyone will hear me.

如果我覺得沒人會聽到，我就會小聲嘀咕幾句。

and of course, there are exceptions.

當然，也有例外。

I've always said that if you can't find anything you like in an entire genre of music, you're not looking hard enough.

我總是說，如果在整個音樂流派中找不到你喜歡的東西，那就是你找得不夠仔細。

for me, for Christmas, that's usually songs like Fairytale of New York, What's This?, and River, but honestly, those answers kinda feel like cheating.

對我來說，聖誕節通常會選擇《紐約童話》、《這是什麼》和《河流》等歌曲，但說實話，這些答案有點像作弊。

each of them has its own way of subverting the sort of optimistic innocence that makes traditional Christmas music so distinct.

它們都以自己的方式顛覆了傳統聖誕音樂所特有的那種樂觀天真。

put simply, none of them get played in grocery stores.

簡單地說，雜貨店裡都不播放這些節目。

but Carol of the Bells is different.

但《鐘聲頌》不同。

Carol of the Bells is the song I always listen for because it's unambiguously a Christmas classic, but it's also a stone-cold banger.

鐘聲頌歌》是我經常聆聽的一首歌，因為它毫無疑問是聖誕經典，同時也是一首冷酷無情的流行歌曲。

which is why I wasn't that surprised to learn that, while these days it's one of the most popular songs in the Christmas canon, it was never meant to be.

是以，當我得知這首歌如今已成為聖誕經典中最受歡迎的歌曲之一時，我並不感到驚訝，因為這首歌本來就不是聖誕經典。

it was originally about something completely different, and I promise, you have no idea where this story is about to go.

我保證，你根本不知道這個故事會走向何方。

the song that we now know as the Carol of the Bells began its life in Ukraine, as a song called Shchedrik, by the composer Mykola Leontovich.

我們現在所知的《鐘聲頌歌》起源於烏克蘭，是由作曲家 Mykola Leontovich 創作的一首名為《Shchedrik》的歌曲。

or, actually, it began its life a little earlier than that.

或者，實際上，它的生命開始得比這更早一些。

Leontovich had been hired to arrange a piece of music based on the centuries-old Ukrainian folk tradition of Shchedrivki, which were well-wishing songs sung by children to celebrate the new year.

萊昂托維奇受僱根據擁有數百年曆史的烏克蘭民間傳統 "Shchedrivki "編曲，"Shchedrivki "是孩子們為慶祝新年而唱的祝福歌曲。

that might sound a little Christmassy, but an important thing to understand here is that, in pre-Christian Ukraine, the new year was celebrated not in winter, but at the start of spring.

這聽起來可能有點像聖誕節，但需要了解的重要一點是，在基督教之前的烏克蘭，新年不是在冬天慶祝的，而是在春天開始的時候。

and we can see this in Shchedrik's lyrics, which, according to anthropologist Anthony

我們可以從 Shchedrik 的歌詞中看到這一點。

Potoczniak, Leontovich most likely found in a book of traditional Ukrainian folk songs, although he may also have remembered them from his childhood.

利昂托維奇很可能是從一本烏克蘭傳統民歌書中找到的波託奇尼亞克，不過他也可能是在童年時就記住了這些歌曲。

they tell the story of a swallow visiting a man to show him all the wonderful bounties the spring has brought, from new crops to a growing flock of sheep to a wife who… ok, the literal translation is that she has dark eyebrows, but contemporary Ukrainian listeners would have known that that was a colloquial way of calling her beautiful.

它們講述了一隻燕子去拜訪一個人，向他展示春天帶來的所有美好恩惠的故事，從新的莊稼到日益壯大的羊群，再到她的妻子......好吧，直譯是她的眉毛很深，但當代的烏克蘭聽眾會知道，那是稱她美麗的俗語。

kinda like if I said she had ruby lips, but with a different set of cultural beauty standards.

有點像我說她有紅寶石般的嘴脣，但文化審美標準不同。

but to say that Shchedrik had nothing to do with Christmas is, perhaps, an oversimplification.

但如果說 Shchedrik 與聖誕節毫無關係，也許過於簡單化了。

after all, while Shchedrivki were a pagan tradition, Leontovich himself was a devout member of the Eastern Orthodox Church, and his father and grandfather were both priests.

畢竟，雖然 Shchedrivki 是異教傳統，但萊昂托維奇本人卻是虔誠的東正教信徒，他的父親和祖父都是牧師。

and while pagan Ukraine celebrated the new year in spring, by the early 20th century they had long since moved to the Christian calendar, celebrating it in winter and taking their traditional New Year's rituals with it.

雖然烏克蘭的異教徒在春天慶祝新年，但到 20 世紀初，他們早已改用基督教曆法，在冬天慶祝新年，並將傳統的新年儀式帶入其中。

in fact, according to Potoczniak, Shchedrik itself was commissioned for a Christmas concert, so while the lyrics are drawn from pagan roots, don't reference the holiday, and are about an entirely different season, the association didn't appear out of thin air.

事實上，根據 Potoczniak 的說法，《Shchedrik》本身就是為一場聖誕音樂會而創作的，是以，雖然歌詞來自異教根源，沒有提及節日，而且是關於一個完全不同的季節，但這種關聯並不是憑空出現的。

the Leontovich Museum even says that not long after the song's premiere, a friend of his began distributing a version that replaced those lyrics with a story about the birth of Jesus.

萊昂托維奇博物館甚至說，這首歌首唱後不久，他的一位朋友就開始散發一個版本，用一個關於耶穌誕生的故事取代了這些歌詞。

the song's potential as a Christmas classic was clear from pretty early on.

這首歌作為聖誕經典的潛力從一開始就顯而易見。

but for the most part, in those early years, Leontovich's folk-inspired lyrics were the norm, and while they were by no means a political song, the historical circumstances of the time made their political implications inescapable.

但在早年的大部分時間裡，萊昂托維奇的民謠歌詞是常態，雖然它們絕非政治歌曲，但當時的歷史環境使其政治含義不可避免。

Shchedrik premiered in 1916, and became popular in Ukraine during the early years of the Russian

1916年首演，並在俄羅斯早期流行於烏克蘭。

Revolution.

革命

as you might imagine, this made the concept of Ukrainian cultural identity… complicated.

可以想象，這使得烏克蘭文化身份的概念變得......複雜。

for much of the 19th century, Ukrainians had been subjected to harsh restrictions on the expression of their culture, in an effort by Russian rulers to assimilate them into

在 19 世紀的大部分時間裡，烏克蘭人在表達自己的文化時一直受到嚴厲的限制，俄羅斯統治者試圖將他們同化成

Russian cultural norms.

俄羅斯文化規範。

according to the Value of Circular of 1863, the Ukrainian language wasn't even allowed to be used in religious or educational texts.

根據 1863 年的《價值通報》，甚至不允許在宗教或教育文本中使用烏克蘭語。

they were subjects of Russia, and they were legally required to act like it.

他們是俄羅斯的臣民，在法律上必須如此。

but as so often happens in these circumstances, the Ukrainian people balked at the restrictions, and by Leontovich's time, there was a renewed interest in reclaiming their unique cultural heritage.

但是，正如在這種情況下經常發生的那樣，烏克蘭人民對這些限制表示反對，而到了萊昂托維奇時代，人們又重新對恢復其獨特的文化遺產產生了興趣。

and with revolution in the air across the Russian territories, the time was ripe for a work like Shchedrik that celebrated the traditional melodies and rituals of pre-Russian

在俄羅斯各地革命風起雲湧的時候，像《沙奇裡克》這樣弘揚前俄羅斯傳統旋律和儀式的作品的時機已經成熟

Ukraine.

烏克蘭。

so if this melody is so tied to Ukrainian culture and the coming of spring, how did it become The Carol of the Bells, a song that has nothing to do with spring or Ukraine?

既然這首旋律與烏克蘭文化和春天的到來如此息息相關，那麼它又是如何變成《鐘聲頌歌》這首與春天或烏克蘭毫無關係的歌曲的呢？

well, that's America's fault.

這都是美國的錯。

and don't get me wrong, Shchedrik itself is still alive and well, with new versions being recorded by Ukrainian artists to this day.

別誤會我的意思，Shchedrik 本身仍然生機勃勃，烏克蘭藝術家至今仍在錄製新版本。

check out this version by Tina Carroll which features some pretty sick birdcall solos, or this version by the YouTuber Aileen which faithfully translates the original lyrics to English.

您還可以查看蒂娜-卡羅爾（Tina Carroll）的這一版本，其中的鳥叫聲獨奏非常精彩；或者查看優酷用戶艾琳（Aileen）的這一版本，她忠實地將原歌詞翻譯成了英文。

but according to Ukrainian ethnologist Valentin Okuzik, the song took on a new life in a new America as a direct result of the revolutionary atmosphere of Eastern Europe around the time of its release.

但據烏克蘭民族學家瓦倫丁-奧庫齊克（Valentin Okuzik）稱，這首歌在新的美國獲得了新生，其直接原因是這首歌發行時東歐的革命氣氛。

you see, just months after Shchedrik's debut, the February Revolution led to the removal of the House of Romanov, who had ruled over Russia for the last 300 years.

要知道，就在 Shchedrik 首次亮相的幾個月後，二月革命導致統治俄羅斯長達 300 年之久的羅曼諾夫家族被趕下臺。

suddenly, the large swathes of Ukraine that had previously been under Russian control were up for grabs.

突然之間，之前由俄羅斯控制的大片烏克蘭領土被爭奪一空。

combined with the instability all over Europe due to the whole World War I thing, Ukraine found itself deep in the throes of chaos, but also with a golden opportunity.

第一次世界大戰爆發後，歐洲局勢動盪不安，烏克蘭深陷混亂之中，但同時也迎來了千載難逢的機遇。

a chance for real independence.

真正獨立的機會。

and they went for it, declaring an independent Ukrainian People's Republic in 1918, with the support of various European allies, most notably Poland.

在歐洲各盟國（尤其是波蘭）的支持下，他們於 1918 年宣佈成立獨立的烏克蘭人民共和國。

and it was under the auspices of this new republic that Shchedrik began to spread across the globe, as part of the touring setlist of the Ukrainian National Chorus.

正是在這個新共和國的支持下，Shchedrik 作為烏克蘭國家合唱團巡演曲目的一部分，開始在全球範圍內傳播。

this chorus was part of an explicit project by the new Ukrainian government to build international support for their fledgling state by sharing their culture with the world, and Shchedrik was the centerpiece of their show.

這個合唱團是烏克蘭新政府的一個明確項目的一部分，目的是通過與世界分享他們的文化，為他們新生的國家建立國際支持，而 Shchedrik 就是他們演出的核心。

and people seemed to like it, although in a very 1920s sort of way.

人們似乎很喜歡它，儘管是以一種非常上世紀 20 年代的方式。

writing in Slate, Lydia Tomcu cites an old New York Times review that praised the performance as simply spontaneous in origin and artistically harmonized, but also describes their traditional outfits as motley costumes, and the music they sang as primitive peasant airs.

Lydia Tomcu 在 Slate 上寫道，她引用了《紐約時報》的一篇舊評論，該評論稱讚這次表演只是源於自發的、藝術上和諧的，但也把他們的傳統服裝描述為雜亂無章的服裝，把他們演唱的音樂描述為原始的農民歌曲。

the review even refers to Ukraine as Little Russia, which the performers were not happy about.

評論甚至把烏克蘭稱為 "小俄羅斯"，表演者對此並不滿意。

so the tour continued, even after its purpose had failed.

是以，即使目的已經達到，巡演仍在繼續。

in 1921, Poland and Russia signed the Treaty of Riga, effectively ending the Ukrainian

1921 年，波蘭和俄羅斯簽署了《里加條約》，有效地結束了烏克蘭與俄羅斯的關係。

People's Republic and dividing its territory between them.

人民共和國，並將其領土劃分給它們。

there was no more independent Ukraine to build support for, but given the political nature of their project, the performers were afraid to return home.

雖然沒有了獨立的烏克蘭可以為其爭取支持，但鑑於其項目的政治性質，表演者們不敢回國。

instead, they kept on playing, and once the tour ended, its remaining members settled permanently as immigrants in North America.

相反，他們繼續演出，巡演一結束，剩下的成員就作為移民永久定居在北美。

and they were right to be afraid.

他們害怕是對的。

the Treaty of Riga created chaos across Ukraine, but also a personal tragedy for our story.

里加條約》給整個烏克蘭帶來了混亂，也給我們的故事帶來了個人悲劇。

the murder of Mykola Leontovich, and oh my god, this was supposed to be a fun little video about a Christmas carol I think is neat, why am I talking about murder?

米科拉-萊昂托維奇的謀殺案，天哪，這本來是一個有趣的小視頻，是關於一首我認為很好聽的聖誕頌歌的，我為什麼要談論謀殺案呢？

I promise I'll move on soon, but I feel like it would be irresponsible to not tell this part of the story.

我保證我很快就會繼續講下去，但我覺得不講這部分故事是不負責任的。

I've read a lot of accounts of what happened, and to be honest, there's a lot we still don't know.

我讀了很多關於所發生事件的報道，說實話，我們還有很多事情不知道。

but what we do know is this.

但我們知道的是

on January 22nd, 1921, Leontovich was visiting his father in the village of Tulkin.

1921 年 1 月 22 日，萊昂托維奇去圖爾金村看望父親。

late in the evening, a man showed up at their door, claiming to have been hunting bandits in the area, and asked if he could spend the night.

傍晚時分，一個男人出現在他們家門口，自稱是在該地區狩獵的土匪，問他是否可以在這裡過夜。

the family let him stay.

家人讓他留下來。

the next morning, he shot Leontovich and fled the scene.

第二天早上，他向萊昂托維奇開了一槍，然後逃離了現場。

early speculation was that it was a robbery gone wrong, but eventually government documents were unearthed that identified the killer as an agent of the Cheka, the institutional precursor of the KGB, making it very likely that this was a politically motivated execution.

早期的猜測是搶劫出了問題，但最終出土的政府文件表明，凶手是契卡（克格勃的前身）的特工，是以這很有可能是一場出於政治動機的處決。

the exact reason for targeting Leontovich is still unknown, but Kuzik argues it was most likely due to his involvement in the Ukrainian autocephalous Orthodox Church, an organization that sought religious independence from Russia at a time when the new Soviet government was not friendly to religion.

針對萊昂托維奇的具體原因尚不清楚，但庫茲克認為，這很可能是因為他參與了烏克蘭自治東正教會的活動，該組織在蘇聯新政府對宗教不友好的時期尋求從俄羅斯獲得宗教獨立。

this all set the stage for the modern Carol of the Bells, but we're still missing one key player, which brings us back to the Ukrainian National Chorus.

這一切都為現代的《鐘聲頌歌》奠定了基礎，但我們還缺少一位關鍵人物，這就是烏克蘭國家合唱團。

after touring in Europe, they came to America, and their first stop was Carnegie Hall.

在歐洲巡演後，他們來到美國，第一站就是卡內基音樂廳。

it was a sold-out show, and somewhere in the crowd that night may have been the Ukrainian-American composer Peter Vilhusky.

當晚的演出座無虛席，人群中可能就有美籍烏克蘭作曲家彼得-維爾胡斯基（Peter Vilhusky）。

I say may have because, according to TomCue, historians haven't actually been able to definitively place him at the event.

我之所以說 "可能"，是因為根據 TomCue 的說法，歷史學家實際上還無法確定他是否參加了這次活動。

it's a better story if he was there, but the chorus also made an album that year with Brunswick

如果他在現場，故事會更精彩，但合唱團當年也與 Brunswick 合作製作了一張專輯

Records, and it's possible Vilhusky may have just listened to that.

唱片，維爾胡斯基可能剛剛聽過。

either way, he fell in love with Shedrick, and as an arranger for the NBC Symphony Orchestra, he had a great opportunity to help bring this song to a wider American audience.

無論如何，他都愛上了謝德里克，而作為 NBC 交響樂團的編曲人，他有很大的機會幫助將這首歌帶給更多的美國聽眾。

instead of directly translating the Ukrainian lyrics, though, he decided to write new ones that more directly celebrated the Christmas season.

不過，他並沒有直接翻譯烏克蘭歌詞，而是決定寫一些新歌詞，更直接地慶祝聖誕節。

the accounts I've read don't really discuss his motivations here.

我讀到的說法並沒有真正討論過他的動機。

maybe he thought that Christmas symbolism would help the song resonate with an American audience that had no relationship with Ukrainian folk traditions, or maybe he just really liked

也許他認為聖誕節的象徵意義會讓這首歌在與烏克蘭民間傳統毫無關係的美國聽眾中產生共鳴，也許他只是非常喜歡這首歌。

Christmas.

聖誕節

anyway, this sort of rewrite isn't that uncommon in Christmas music.

總之，這種改寫在聖誕音樂中並不罕見。

What Child is This is basically just Greensleeves, after all.

孩子是什麼》畢竟只是《綠袖子》。

point is, Vilhusky published his version, now called Carol of the Bells, in 1936.

維盧斯基於 1936 年出版了他的版本，即現在的《鐘聲頌歌》。

the new song was a smash hit, quickly becoming a part of the repertoire of carolers before being adopted into advertisements, film scores, and eventually even by pop artists like Lindsey

這首新歌一炮而紅，迅速成為頌歌演唱者的曲目之一，隨後被廣告和電影配樂所採用，最終甚至被林賽等流行歌手所採用。

Sterling, Pentatonix, and Destiny's Child.

Sterling、Pentatonix 和 Destiny's Child。

and the rest, as they say, is history.

剩下的，就像人們常說的那樣，就是歷史了。

but there's still one musical mystery I'd like to solve.

但我還想解開一個音樂之謎。

to my ears, although on the surface it seems joyous and light, the Carol of the Bells has always had this dark, menacing undertone as well.

在我看來，雖然《鐘聲頌歌》表面上看起來歡快、輕盈，但其實它一直都帶有黑暗、危險的意味。

maybe that's just cuz I grew up with a version by the Trans-Siberian Orchestra, which infuses the Christmas classic with the bombast and urgency of progressive metal, but I feel like it's more than that.

也許這只是因為我是聽著西伯利亞交響樂團（Trans-Siberian Orchestra）的版本長大的，它為這一聖誕經典注入了前衛金屬的狂野和緊迫感，但我覺得它不止於此。

I feel like the reason this song sounds so apocalyptic to me is mostly because of a weird musical coincidence.

我覺得這首歌之所以在我聽來如此具有世界末日的感覺，主要是因為音樂上的一個奇怪巧合。

you see, this is the main motif of Shedrick, borrowed from a centuries-old Ukrainian folk tradition of well-wishing songs to celebrate the new year.

你看，這就是 Shedrick 的主要主題，它借用了烏克蘭民間幾百年來慶祝新年的祝福歌曲傳統。

that's where this comes from.

這就是它的來源。

it's what it is.

就是這樣

but to my modern ears, familiar with another century of Western music, and specifically with Hollywood film music, this also happens to be the Dies Irae.

但在我熟悉另一個世紀的西方音樂，特別是好萊塢電影音樂的現代人聽來，這恰好也是《愛爾蘭共和軍死難曲》。

if you're not familiar, Dies Irae is a medieval hymn about the Last Judgment.

如果你不熟悉，"Dies Irae "是一首關於末日審判的中世紀讚美詩。

the name translates to Day of Wrath.

這個名字翻譯過來就是 "憤怒之日"。

in its most famous setting, the melody starts like this and that phrase, particularly its first four notes, have been used by composers since the 19th century as a musical codeword for death and fear.

自 19 世紀以來，作曲家們一直將這一樂句，尤其是其前四個音符作為死亡和恐懼的音樂暗語。

check it out in Rachmaninoff's Isle of the Dead or another beloved Christmas tune, Making Christmas.

在拉赫瑪尼諾夫的《亡靈島》或另一首深受喜愛的聖誕歌曲《製造聖誕》中都可以看到這一點。

and barring a slight rhythmic adjustment to fit into the song's jaunty 3-4 meter, those four notes are the same four notes that make up the Carol of the Bells' main motif.

這四個音符與構成《鐘聲頌歌》主旋律的四個音符如出一轍，只是在節奏上稍作調整，以適應這首歌歡快的 3-4 拍。

now, to be clear, Leontowicz did not do this on purpose.

現在，要明確的是，Leontowicz 並不是故意這樣做的。

Vilhusky also probably didn't do this on purpose.

維爾胡斯基可能也不是故意的。

but what about John Williams?

但約翰-威廉姆斯呢？

after all, much of this song's current popularity can be traced back to its use in the beloved 1990 Christmas film Home Alone.

畢竟，這首歌目前的流行程度可以追溯到 1990 年深受喜愛的聖誕電影《獨自在家》（Home Alone）中的使用。

it's played at the end of the church scene, where Kevin finally meets Mr. Marley and learns that he doesn't have to be scared of him.

在教堂場景的最後，凱文終於見到了馬利先生，並知道自己不必害怕他。

Williams then takes that motif and interpolates it into the music of the next scene, where

威廉斯隨後將這一主題插入下一個場景的音樂中。

Kevin returns home to lay traps for the bandits.

凱文回到家中為強盜佈下陷阱。

and not only does Williams definitely know about the Dies Irae, he's used it.

威廉斯不僅肯定知道《愛爾蘭共和軍》，而且還用過它。

a lot, but to pick one example, here's the scene in A New Hope, where Luke comes home to find his aunt and uncle dead.

但舉個例子，《新希望》中有這樣一個場景：盧克回到家，發現舅舅和舅媽都死了。

but what about Home Alone?

但《家有兒女》呢？

did John Williams hear what I hear?

約翰-威廉姆斯聽到我聽到的了嗎？

did he use the Carol of the Bells as a clever way to evoke the Dies Irae, or is this just another coincidence?

是他巧妙地用《鐘聲頌歌》來喚起《愛爾蘭共和軍戰歌》，還是這只是另一種巧合？

yeah, no, he absolutely did it on purpose.

是的，不，他絕對是故意的。

and I know that, because early in the film, there's a scene where Kevin and the other kids watch Mr. Marley putting out salt with his deadly-looking shovel.

我知道這一點，因為在影片的開頭，有這樣一個場景：凱文和其他孩子看著馬利先生用他那把看起來要命的鏟子撒鹽。

he turns to look at them, they hide, and the music does this.

他轉過身去看他們，他們就躲起來，音樂就這樣響起。

and it's such a cool choice.

這真是一個很酷的選擇。

Williams first scores Mr. Marley with the ominous Dies Irae, so he can later reinterpret those same notes through the joyful Carol of the Bells, musically encapsulating Kevin's changing perspective on his neighbor.

威廉斯先是為馬利先生譜寫了不祥的《愛爾蘭共和軍死難曲》，然後又通過歡快的《鐘聲頌歌》重新詮釋了這些音符，用音樂概括了凱文對鄰居看法的變化。

the lord of the leitmotifs remains undefeated.

主旋律之王保持不敗。

and I think that same hidden darkness that makes it such a perfect fit for Mr. Marley is also what attracts so many metal bands to this tune, not just the Trans-Siberian

我認為，正是這種隱藏的黑暗讓它與馬利先生完美契合，也正是它吸引了眾多金屬樂隊，而不僅僅是西伯利亞大峽谷樂隊。

Orchestra, but also Mannheim Steamroller, August Burns Red, and Sabaton.

Orchestra，還有 Mannheim Steamroller、August Burns Red 和 Sabaton。

I mean, I'm pretty sure it's what attracted me.

我是說，我很確定這就是吸引我的原因。

phew.

呼。

I don't really know how to end this video, because it was never supposed to go like this.

我真不知道該如何結束這段視頻，因為它本來就不該是這樣的。

I honestly just wanted to make a light, simple thing to round out the year, and a quick look at my favorite Christmas carols seemed easy and fun.

老實說，我只是想做一個輕鬆簡單的東西來結束這一年，而快速瀏覽我最喜歡的聖誕頌歌似乎既簡單又有趣。

but then I started researching.

但後來我開始研究。

and then I couldn't stop researching, and I realized that if I didn't know this story, as someone whose literal job is knowing things about music, then maybe a lot of other people don't know this story either, and maybe they should.

然後我無法停止研究，我意識到，如果我不知道這個故事，作為一個以瞭解音樂為工作的人，也許很多其他人也不知道這個故事，也許他們應該知道。

so I guess my takeaway here is to always question the classics.

所以，我想我在這裡得到的啟示是，要經常質疑經典。

for everything that feels like it's always been a part of our culture, there was a time when it wasn't.

對於那些感覺上一直是我們文化一部分的事物來說，曾幾何時並非如此。

understanding how that changed tells us something very important about who we've been and who we are.

瞭解這種變化會告訴我們一些關於我們過去和現在的重要資訊。

the Carol of the Bells didn't magically appear fully formed in the Christmas canon.

鐘聲頌歌》並沒有神奇地完全出現在聖誕大典中。

it was built, piece by loving piece, in a collaboration that spans centuries, from peasants in pre-Christian Ukraine to Beyoncé.

從前基督教時代的烏克蘭農民到碧昂斯，它是在跨越幾個世紀的合作中一件件精心打造出來的。

the grandeur of that process is as beautiful as it is terrifying.

這一過程的壯觀既美麗又可怕。

but this isn't just a story about grandeur.

但這不僅僅是一個關於壯觀的故事。

it's also a story about people.

這也是一個關於人的故事。

Mykola Leontovych was a human being, and he made choices that were informed by his life, his circumstances, and his values.

Mykola Leontovych 是一個人，他根據自己的生活、環境和價值觀做出了選擇。

those choices shaped a piece of music that resonates around the world to this day, even if most of us have never heard his name.

儘管我們中的大多數人從未聽說過他的名字，但他的這些選擇塑造了一首至今仍在全世界引起共鳴的音樂作品。

but those choices also cost him his life.

但這些選擇也讓他付出了生命的代價。

I don't know what to do with that, but I think it's important to know.

我不知道該怎麼處理，但我認為知道這一點很重要。

happy holidays if you celebrate, and happy whatever if you don't.

如果你慶祝節日，祝你節日快樂；如果你不慶祝節日，也祝你節日快樂。

and for the last time this year, thanks for watching.

今年最後一次，感謝您的收看。

thanks to our featured Patrons, Susan Jones, Jill Sundgaard, Howard Levine, Warren Huert,

感謝我們的特邀贊助人 Susan Jones、Jill Sundgaard、Howard Levine 和 Warren Huert、

Damian Fother-Sutherland, Neil Moore, Jeff, and Michael Moll.

達米安-福瑟-薩瑟蘭、尼爾-摩爾、傑夫和邁克爾-莫爾。

check out The Nebula Cut for a fuller outro, and as always, keep on rockin'.

請查看《星雲剪輯》（The Nebula Cut），獲得更完整的尾聲，並一如既往地繼續搖滾下去。