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Chapter VII
It was when curiosity about Gatsby was at its highest that the lights in his house failed to go on one Saturday night—and, as obscurely as it had begun, his career as Trimalchio was over.
Only gradually did I become aware that the automobiles which turned expectantly into his drive stayed for just a minute and then drove sulkily away. Wondering if he were sick I went over to find out—an unfamiliar butler with a villainous face squinted at me suspiciously from the door.
“Is Mr. Gatsby sick?”
“Nope.” After a pause he added “sir” in a dilatory, grudging way.
“I hadn’t seen him around, and I was rather worried. Tell him Mr. Carraway came over.”
“Who?” he demanded rudely.
“Carraway.”
“Carraway. All right, I’ll tell him.” Abruptly he slammed the door.
My Finn informed me that Gatsby had dismissed every servant in his house a week ago and replaced them with half a dozen others, who never went into West Egg Village to be bribed by the tradesmen, but ordered moderate supplies over the telephone. The grocery boy reported that the kitchen looked like a pigsty, and the general opinion in the village was that the new people weren’t servants at all.
개츠비의 집에서 일하는 일꾼들이 부엌일을 비롯한 집안일에 익숙한 사람들이 아니라는 것. 닉이 만난 낯선 집사처럼 인상이 좋지 않았다는 것.
to be bribed by the tradesmen : 개츠비 집의 하인들이 동네 상인들에게 매수 당해서 개츠비 저택에서 일어나는 일, 특히 데이지와 관련된 일을 퍼트리게 되지 않도록 조처한 것.
who never went into the village and who never exchanged a word with the tradesmen except to order supplies over the telephone. (초고 / 트리말키오)
Next day Gatsby called me on the phone.
“Going away?” I inquired.
“No, old sport.”
“I hear you fired all your servants.”
“I wanted somebody who wouldn’t gossip. Daisy comes over quite often—in the afternoons.”
So the whole caravansary had fallen in like a card house at the disapproval in her eyes.
caravansary : (과거 아시아·북부 아프리카 사막에 있던) 여행자 쉼터[숙소], (중앙에 넓은 뜰이 있는) 대상(隊商)의 숙사, 큰 여관
새로운 사람들은 울프심의 사람들로 모종의 조직에 속한 사람들이라는 것을 밝히고 있다.
“They’re some people Wolfshiem wanted to do something for. They’re all brothers and sisters. They used to run a small hotel.”
“I see.”
He was calling up at Daisy’s request—would I come to lunch at her house tomorrow? Miss Baker would be there. Half an hour later Daisy herself telephoned and seemed relieved to find that I was coming. Something was up. And yet I couldn’t believe that they would choose this occasion for a scene—especially for the rather harrowing scene that Gatsby had outlined in the garden.
The next day was broiling, almost the last, certainly the warmest, of the summer. As my train emerged from the tunnel into sunlight, only the hot whistles of the National Biscuit Company broke the simmering hush at noon. The straw seats of the car hovered on the edge of combustion; the woman next to me perspired delicately for a while into her white shirtwaist, and then, as her newspaper dampened under her fingers, lapsed despairingly into deep heat with a desolate cry. Her pocket-book slapped to the floor.
hot whistles : 공장에서 나는 증기나 기계의 휘파람 소리를 비유적으로 표현한 것
- National Biscuit Company : 약자를 따서 나비스코(Nabisco)로 불리는 미국 제과 회사로 미국의 주요한 3개 제과 회사들이 합병해 1898년에 설립되었다. 전국에 1백여 개의 제과 공장을 소유했고 뉴욕시에 본부를 두고 있었다. 뉴욕은 산업화된 식품 가공 회사가 집중해 있던 곳으로 나중에 Sunshine Biscuits가 된 Loose-Wiles 역시 롱아일랜드에 큰 공장을 두고 있었다. 제2차 세계대전 동안에는 정규 생산에 군 보급 식량 생산이 추가됨으로써 식품 가공은 퀸스 지역에서 가장 큰 규모의 산업이었다. Annie Hauck-Lawson & Jonathan Deutsch, ed., Gastropolis: Food and New York City (New York: Columbia UP, 2009) 178 참조. (신현욱, p.279)
The National Biscuit Company, now called Nabisco, had several cookie-making plants and factories in West Chelsea (in particular, where Chelsea Market is now). During one of Carraway's hot summertime commutes between West Egg and Penn Station, which apparently, in his world, passed through Chelsea, "[o]nly the hot whistles of the National Biscuit Company broke the simmering hush at noon."
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https://ny.curbed.com/maps/mapping-the-1920s-new-york-city-of-the-great-gatsby
straw seat : 밀집으로 만든 의자.* 오늘날의 독자들은 열차에 무슨 밀짚 의자냐 생각할 수 있겠지만 당시 열차 의자는 밀짚 줄기 (straw cane)로 만들기도 했다. 미국의 HBO에서는 1920년대의 금주 시대를 배경으로 한 시리즈 드라마인 Boardwalk Empire를 제작했는데, 이 드라마의 흥행을 위해 1920년대의 열차를 재현하여 타임스 스퀘어에서 96번가까지 운행하기도 했다. (신현욱, p.297)
“Oh, my!” she gasped.
I picked it up with a weary bend and handed it back to her, holding it at arm’s length and by the extreme tip of the corners to indicate that I had no designs upon it–but every one near by, including the woman, suspected me just the same.
“Hot!” said the conductor to familiar faces. “Some weather! Hot! Hot! Hot! Is it hot enough for you? Is it hot? Is it...?”
My commutation ticket came back to me with a dark stain from his hand. That any one should care in this heat whose flushed lips he kissed, whose head made damp the pajama pocket over his heart!
...Through the hall of the Buchanans’ house blew a faint wind, carrying the sound of the telephone bell out to Gatsby and me as we waited at the door.
“The master’s body!” roared the butler into the mouthpiece. “I’m sorry, madame, but we can’t furnish it–it’s far too hot to touch this noon!”
What he really said was: “Yes...yes...I’ll see.”
- The master's body ... this noon! : ‘주인님의 시체[육체]’로 시작되는 이 대목은 집사가 실제로 말한 내용이 아니라 (극심한 더위에 시달리고 있는) 닉이 톰의 집 안쪽에서 전화벨이 울려오자 먼저 그 내용을 제멋대로 상상하는 대목이다. 집사가 실제로 말한 내용은 바로 뒤에 나오는 ‘Yes ... yes ... I’ll see’ 부분이다. 닉의 상상은 여러 점에서 중의적이다. ‘body’를 ‘시체’로 볼 때는 꽤나 고딕적이 고 음산한 상상이 될 것이고, ‘육체’로 볼 때는 [머틀(Myrtle)을 발신자로 가정하고] 주인님의 육체를 찾는다고요? 제공해 드릴 수가 없어요. 너무 뜨거워서[두루 열받아 있어서] 만질 수가 없으니까요’라는 코믹한 의미가 된다. 조금 더 뒤에 나오는 차와 연관 지어 ‘body’를 ‘자동차’로 보자면 ‘날이 더워 차체가 너무 뜨겁게 달아올 라 만질 수도 없을 지경이 되었다’는 의미가 된다.
He set down the receiver and came toward us, glistening slightly, to take our stiff straw hats.
- straw hats : 136:27에 ‘straw seats of the car’에서는 밀짚이 시트의 속으로 사용된 것이고 이 밀짚이 날아다니면서 거의 불탈 지경이었다고 했다. 그 밀짚을 머리에 쓰고 온 것 같은 느낌이 들게 한다.
“Madame expects you in the salon!” he cried, needlessly indicating the direction. In this heat every extra gesture was an affront to the common store of life.
The narrator is thus briefly entertaining a fancy whereby the energy needed to sustain activity in the intense heat comes from a limited stock that is shared between people, and so if one person makes an unnecessary gesture then they are depleting the stock of energy available to everyone else, which is thus an ‘affront’ (an attack or insult). This is an instance of hypallage: the affront is really to the other people who share in the common store, not to the store itself.
화자는 강렬한 열기 속에서 활동을 유지하는 데 필요한 에너지가 사람들 간에 공유되는 한정된 에너지에서 나온다는 공상을 잠시 떠올리고 있다. 따라서 한 사람이 불필요한 행동을 하면 다른 모든 사람이 사용할 수 있는 에너지가 고갈되고, 이는 '모욕'(공격이나 모욕)이 된다. 이는 hypallage(환치법(換置法))의 한 예이다. 모욕은 실제로는 공유 에너지 저장소 자체가 아니라, 공유 에너지 저장소를 공유하는 다른 사람들에게 가해진다.
The room, shadowed well with awnings, was dark and cool. Daisy and Jordan lay upon an enormous couch, like silver idols, weighing down their own white dresses against the singing breeze of the fans.
“We can’t move,” they said together.
Jordan’s fingers, powdered white over their tan, rested for a moment in mine.
“And Mr. Thomas Buchanan, the athlete?” I inquired.
Simultaneously I heard his voice, gruff, muffled, husky, at the hall telephone.
Gatsby stood in the center of the crimson carpet and gazed around with fascinated eyes. Daisy watched him and laughed, her sweet, exciting laugh; a tiny gust of powder rose from her bosom into the air.
“The rumor is,” whispered Jordan, “that that’s Tom’s girl on the telephone.”
We were silent. The voice in the hall rose high with annoyance. “Very well, then, I won’t sell you the car at all...I’m under no obligations to you at all...And as for your bothering me about it at lunch time I won’t stand that at all!”
“Holding down the receiver,” said Daisy cynically.
“No, he’s not,” I assured her. “It’s a bona fide deal. I happen to know about it.”
Tom flung open the door, blocked out its space for a moment with his thick body, and hurried into the room.
“Mr. Gatsby!” He put out his broad, flat hand with well-concealed dislike. “I’m glad to see you, sir...Nick...”
“Make us a cold drink,” cried Daisy.
As he left the room again she got up and went over to Gatsby and pulled his face down kissing him on the mouth.
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