The Great Gatsby 읽기 32 - 86:1 ~ 90:1

[yum]

Chapter V

WHEN I came home to West Egg that night I was afraid for a moment that my house was on fire.

Two o’clock and the whole corner of the peninsula was blazing with light which fell unreal on the shrubbery and made thin elongating glints upon the roadside wires. Turning a corner I saw that it was Gatsby’s house, lit from tower to cellar.

새벽 두 시가 되어 파티에 왔던 모든 사람들이 가고 빈 집에 불만 켜져 있는 모습이다. 열린 창문에서 빛이 나오는데 사람들이 없기 때문에 빛이 가려지지 않고 그대로 관목 숲을 비추고 있는 광경이다.

- Turning a corner I saw that it was Gatsby’s house, lit from tower to cellar. : 초고에는 Turning a corner I saw that it was Gatsby’s house, lit from tower to cellar, (belching) from every window an oval or a square of ice-cold light. 로 되어 있었다.

At first I thought it was another party, a wild rout that had resolved itself into “hide-and-go-seek” or “sardines-in-the-box” with all the house thrown open to the game. But there wasn’t a sound. Only wind in the trees which blew the wires and made the lights go off and on again as if the house had winked into the darkness. As my taxi groaned away I saw Gatsby walking toward me across his lawn.

파티가 다 끝났는데 또 다른 파티가 열리고 있는 줄 알았다는 것. 사람들이 없이 열린 창문으로 불빛만 비추고 있는 광경이 숨바꼭질을 하느라고 사람들이 모두 숨어버린 상태인 것처럼 보였다는 것.

- hide-and-go-seek : 숨바꼭질. 한 사람의 술래가 숨어 있는 다른 사람들을 찾아내는 게임.

- sardines-in-the-box : 게임.

숨을 사람 한 명 정하기 -먼저 한 명을 정해서 숨어야 합니다.

나머지 사람들이 찾기 시작 - 숨은 사람이 숨을 시간을 준 뒤, 나머지 모든 사람이 개별적으로 숨어 있는 사람을 찾아다닙니다.

찾으면 함께 숨기 - 숨은 사람을 발견한 플레이어는 아무 말 없이 조용히 그 사람과 함께 같은 장소에 숨어야 합니다.

이 과정을 반복하면서 점점 더 많은 사람이 한 장소에 몰리게 됩니다.

마지막 한 명이 찾을 때까지 반복

마지막까지 찾지 못한 사람이 패배자가 됩니다.

“Your place looks like the world’s fair,” I said.

“Does it?” He turned his eyes toward it absently. “I have been glancing into some of the rooms. Let’s go to Coney Island, old sport. In my car.”

Coney Island

“It’s too late.”

“Well, suppose we take a plunge in the swimming pool? I haven’t made use of it all summer.”

“I’ve got to go to bed.”

“All right.”

He waited, looking at me with suppressed eagerness.

“I talked with Miss Baker,” I said after a moment.

“I’m going to call up Daisy tomorrow and invite her over here to tea.”

“Oh, that’s all right,” he said carelessly. “I don’t want to put you to any trouble.”

“What day would suit you?”

“What day would suit YOU?” he corrected me quickly. “I don’t want to put you to any trouble, you see.”

“How about the day after tomorrow?” He considered for a moment. Then, with reluctance:

“I want to get the grass cut,” he said.

We both looked at the grass–there was a sharp line where my ragged lawn ended and the darker, well-kept expanse of his began. I suspected that he meant my grass.

“There’s another little thing,” he said uncertainly, and hesitated.

“Would you rather put it off for a few days?” I asked.

“Oh, it isn’t about that. At least—-” He fumbled with a series of beginnings. “Why, I thought–why, look here, old sport, you don’t make much money, do you?”

“Not very much.”

This seemed to reassure him and he continued more confidently.

“I thought you didn’t, if you’ll pardon my–you see, I carry on a little business on the side, a sort of sideline, you understand. And I thought that if you don’t make very much–You’re selling bonds, aren’t you, old sport?”

pardon my : "Pardon my French"의 축약으로 보인다. 이 말은 실제 프랑스어와는 관계없이 비속어나 공격적인 표현을 사용한 후 분위기를 누그러뜨리기 위한 익살스러운 표현. 이 표현은 19세기 영국에서 시작되었으며, 그 당시 영국인들이 대화 중 프랑스어 단어를 사용할 때 상대방이 모를 수도 있다고 미리 사과하는 방식에서 유래. 예를 들어, 1830년 출판된 한 영국 소설 The Lady's Magazine에는 다음과 같은 문장이 등장.

"Bless me, how fat you are grown!—absolutely as round as a ball: you will soon be as enbon-point (pardon my French) as your poor dear father, the major."

(“어머나, 너 정말 살이 쪘구나! 완전 공처럼 동그 너희 아버지처럼 금방 ‘앙봉뽀앙’(프랑스어라서 미안)해지겠어.”)

여기서 enbon-point는 프랑스어로 ‘통통한’을 의미하는 단어.

19세기 후반부터 **"Pardon my French"**는 욕설을 완화하는 표현으로 변형.

프랑스어가 영국에서는 외국어였기 때문에, 듣는 사람이 이해하지 못할 수도 있다는 의미에서 "미안"하다고 했던 것이 이후 비속어(욕설) 사용 후 사과하는 의미로 변형된 것.

“Trying to.”

“Well, this would interest you. It wouldn’t take up much of your time and you might pick up a nice bit of money. It happens to be a rather confidential sort of thing.”

I realize now that under different circumstances that conversation might have been one of the crises of my life. But, because the offer was obviously and tactlessly for a service to be rendered, I had no choice except to cut him off there.

“I’ve got my hands full,” I said. “I’m much obliged but I couldn’t take on any more work.”

“You wouldn’t have to do any business with Wolfshiem.” Evidently he thought that I was shying away from the “gonnegtion” mentioned at lunch, but I assured him he was wrong. He waited a moment longer, hoping I’d begin a conversation, but I was too absorbed to be responsive, so he went unwillingly home.

The evening had made me light-headed and happy; I think I walked into a deep sleep as I entered my front door. So I didn’t know whether or not Gatsby went to Coney Island or for how many hours he “glanced into rooms” while his house blazed gaudily on. I called up Daisy from the office next morning and invited her to come to tea.

- he “glanced into rooms” : 앞에서 개츠비가 닉에게 한 말을 떠올리고 있다: I have been glancing into some of the rooms.

gaudy : it is very bright-colored and showy; often used to express disapproval and to suggest it is vulgar.

“Don’t bring Tom,” I warned her.

“What?”

“Don’t bring Tom.”

“Who is ‘Tom’?” she asked innocently.

The day agreed upon was pouring rain. At eleven o’clock a man in a raincoat dragging a lawn-mower tapped at my front door and said that Mr. Gatsby had sent him over to cut my grass. This reminded me that I had forgotten to tell my Finn to come back so I drove into West Egg Village to search for her among soggy white-washed alleys and to buy some cups and lemons and flowers.

The flowers were unnecessary, for at two o’clock a greenhouse arrived from Gatsby’s, with innumerable receptacles to contain it. An hour later the front door opened nervously, and Gatsby in a white flannel suit, silver shirt and gold-colored tie hurried in. He was pale and there were dark signs of sleeplessness beneath his eyes.

“Is everything all right?” he asked immediately.

“The grass looks fine, if that’s what you mean.”

“What grass?” he inquired blankly. “Oh, the grass in the yard.” He looked out the window at it, but judging from his expression‎ I don’t believe he saw a thing.

마당의 잔디를 보려고 창밖을 내다보고 있지만 무엇을 보는 것이 아니라 데이지가 오고 있는지를 보고 있다는 것.

“Looks very good,” he remarked vaguely. “One of the papers said they thought the rain would stop about four. I think it was ‘The Journal.’ Have you got everything you need in the shape of–of tea?”

- ‘The Journal’ : New York Evening Journal을 가리킨다. 짜릿하고 선정적인 보도로 잘 알려져 있었다. 만화가 연재되고 토요일에는 컬러판으로 인쇄되었다. 한 부에 1센트였다. 1925년 당시의 독자라면 닉이 읽었던 신문 Tribune과 대조를 읽을 수 있었을 것이다. ‘The Journal’을 언급함으로써 개츠비의 취향이 닉과 다르고, 다분히 대중적이라는 것을 암시하고 있다.

New York Evening Journal

(피에르 부르디외) "취향이야말로 인간이 가진 모든 것, 즉 인간과 사물 그리고 인간이 다른 사람들에게 의미할 수 있는 모든 것의 기준이기 때문이다. 이를 통해 사람들은 스스로를 구분하며, 다른 사람들에 의해 구분된다."

Hearst Newspapers : 미국의 대형 미디어 그룹 Hearst Corporation(허스트 코퍼레이션) 산하의 신문 사업 부문을 의미한다. 회사명은 Hearst Newspapers는 허스트 그룹이 소유한 신문사들의 총칭. 뉴욕, 샌프란시스코, 휴스턴 등 미국 주요 도시에서 여러 신문을 발행하는 미디어 네트워크. 19세기 말 ~ 20세기 초 신문왕 윌리엄 랜돌프 허스트(William Randolph Hearst)가 설립한 미디어 제국의 일부로, 황색 저널리즘(Yellow Journalism)의 대표적 사례로도 언급된다.

I took him into the pantry where he looked a little reproachfully at the Finn. Together we scrutinized the twelve lemon cakes from the delicatessen shop.

- delicatessen : ( deli ) 델리카(트)슨, 델리카트, 1. 흔하지 않고 비싼 육가공품, 유가공품 등의 식품류(수입식품류) 2. 흔하지 않고 비싼 육가공품, 유가공품 등의 식품류(수입식품류)를 파는 장소, 곳을 말하기도 함.

"Delicatessen"의 어원은 독일어에서 유래

독일어: Delikatessen → "진미(珍味), 고급 음식"을 의미

프랑스어: délicatesse → "우아함, 섬세함, 진미"에서 영향을 받음

라틴어: delicatus → "섬세한, 맛있는"이라는 뜻

독일어 Delikatessen은 프랑스어 délicatesse에서 차용되었으며, 결국 라틴어 delicatus에서 그 뿌리를 찾을 수 있다. 영어에서는 19세기 후반 독일 이민자들에 의해 전파되었으며, 지금은 흔히 "고급 식료품점"을 뜻하는 단어로 사용된다.

즉, 원래는 "고급스럽고 맛있는 음식"을 의미했지만, 시간이 지나면서 이를 판매하는 가게 자체를 의미하게 되었다.

“Will they do?” I asked.

“Of course, of course! They’re fine!” and he added hollowly, “. . .old sport.”

The rain cooled about half-past three to a damp mist through which occasional thin drops swam like dew. Gatsby looked with vacant eyes through a copy of Clay’s “Economics,” starting at the Finnish tread that shook the kitchen floor and peering toward the bleared windows from time to time as if a series of invisible but alarming happenings were taking place outside. Finally he got up and informed me in an uncertain voice that he was going home.

Clay’s “Economics” : 개츠비가 보고 있던 책 Economics: An Introduction for the General Reader 이다. 이 책은 영국의 경제학자 Henry Clay(1883-1954)의 저술로 미국에서 1918년에 출판되었다. Clay는 공익을 위한 부의 재분배에 가장 큰 관심을 가지고 있었다. 이 책은 닉의 집이 가지고 있던 책으로 볼 수 있다. 닉은

start : 흠칫[깜짝] 놀라다

At this point Miss Baker said: “Absolutely!” with such suddenness that I started—it was the first word she had uttered since I came into the room. (13:3-5)

- Finnish tread : 핀란드식의 발걸음이 뭔가 특이하다는 인상을 준다. 인종차별적?

개츠비가 닉의 집에 온 이후 개츠비를 묘사하는 말 가운데 blankly, vaguely, hollowly, vacant, uncertain 과 같은 말들은 개츠비가 약간 멍한 상태에 있다는 것을 보여준다.