49:9 ~ 51:14 읽기

(49:9) He remembered the time he had hooked one of a pair of marlin. The male fish always let the female fish feed first and the hooked fish, the female, made a wild, panic-stricken, despairing fight that soon exhausted her, and all the time the male had stayed with her, crossing the line and circling with her on the surface. He had stayed so close that the old man was afraid he would cut the line with his tail which was sharp as a scythe and almost of that size and shape. When the old man had gaffed her and clubbed her, holding the rapier bill with its sandpaper edge and clubbing her across the top of her head until her colour turned to a colour almost like the backing of mirrors, and then, with the boy's aid, hoisted her aboard, the male fish had stayed by the side of the boat. Then, while the old man was clearing the lines and preparing the harpoon, the male fish jumped high into the air beside the boat to see where the female was and then went down deep, his lavender wings, that were his pectoral fins, spread wide and all his wide lavender stripes showing. He was beautiful, the old man remembered, and he had stayed. - 암컷이 낚시에 걸리면 수컷이 그 자리를 뜨지 못하고 보이는 행태는 헤밍웨이가 경험하기도 했고 증언을 듣기도 한 것이다. 이 암수 물고기의 모습은 산티아고와 그 부인의 모습을 떠올리게 한다.- her colour turned to a colour almost like the backing of mirrors : 청새치가 죽으면 그 색이 변하는데 거울의 뒷면 색깔처럼 변한다는 것이다. 이 소설에서 거울 뒷면의 이미지가 사용된 곳은 이곳을 포함해서 모두 세 곳이다: 49:21, 96:23, 110-6-7. 사실적인 묘사이기도 하지만 그 이상의 의미가 담겨 있는 것으로 보아야 할 것이다. 거울 뒷면이 없으면 거울이 될 수 없다. 거울은 자기를 비춰보는 것이다. 거울의 이면이 없으면 자기를 비춰볼 수 없는 것처럼 죽음이 없으면 생을 볼 수 없다고 하는 의미를 담고 있다. (50:6) That was the saddest thing I ever saw with them, the old man thought. The boy was sad too and we begged her pardon and butchered her promptly.  "I wish the boy was here," he said aloud and settled himself against the rounded planks of the bow and felt the strength of the great fish through the line he held across his shoulders moving steadily toward whatever he had chosen. - toward whatever he had chosen : wherever가 아니고 whatever를 써서 물고기가 어떤 ‘방향’을 향해서 가는 것만을 가리키는 것이 아니라 그가 택한 어떤 것이든 그것을 향해서 가고 있다는 뜻을 보여준다. When once, through my treachery, it had been necessary to him to make a choice, the old man thought. 노인은 물고기에게 먹을 것을 주는 것처럼 했지만 물고기가 낚시바늘에 걸리게 했다. 이것은 물고기를 배반한 것이다. His choice had been to stay in the deep dark water far out beyond all snares and traps and treacheries. My choice was to go there to find him beyond all people. Beyond all people in the world. Now we are joined together and have been since noon. And no one to help either one of us. 노인의 배반에 대해서 물고기는 물 속 깊이 들어가는 선택을 했다.- 노인과 물고기는 1:1로 마주하고 있다. 물고기는 노인의 자아의 표상으로 볼 수 있다. 이 고기잡이는 노인의 자아와의 만남과 극복의 과정이라고 볼 수 있다.beyond : 니체의 철학이 반영되어 있는 것으로 보인다.choice : 운명에 맡겨버리는 것이 아니라 자기 자신의 의지로 자기가 선택을 하는 것을 뜻한다. Perhaps I should not have been a fisherman, he thought. But that was the thing that I was born for. I must surely remember to eat the tuna after it gets light.- 48:9와 여기 50:24에서 다랑어를 꼭 먹어야 한다고 자기 자신에게 상기시키고 있다. 노령에 이르러서 기억력이 감퇴하고 있음을 노인 자신이 알고 있다. 기억력이 감퇴하는 노인이면서 자기가 잡은 물고기를 날로 먹으면서 기력을 회복해야 하는 열악한 환경에 놓인 이 노인을 ‘beyond all people’이라고 표현한다. 악조건 속에 놓인 노인이야말로 진정한 의미에서 인간을 넘어서 있는 인간이라고 할 수 있다. (51:1) Some time before daylight something took one of the baits that were behind him. He heard the stick break and the line begin to rush out over the gunwale of the skiff. In the darkness he loosened his sheath knife and taking all the strain of the fish on his left shoulder he leaned back and cut the line against the wood of the gunwale. Then he cut the other line closest to him and in the dark made the loose ends of the reserve coils fast. He worked skillfully with the one hand and put his foot on the coils to hold them as he drew his knots tight. Now he had six reserve coils of line. There were two from each bait he had severed and the two from the bait the fish had taken and they were all connected. gunwale : (보트·작은 배의) 현연[뱃전]지금 2개의 미끼에 연결되어 있던 낚싯줄을 끊어버렸다. 2개씩 예비 줄이 생겨서 4개. 거기에 지금 물고기가 끌고 가고 있는 낚싯줄에는 예비 줄이 2개. 그래서 도합 6개의 예비 낚싯줄이 생겼고, 그 6개를 모두 하나에 연결시켜놓았다. 물고기가 깊이 들어갈 것에 대비해서 줄을 준비해 둔 것이다.