Embedded Files
Beyond the Zero
Beyond the Zero
Companion 1부 노트
PART 1 of Gravity's Rainbow, wherein abbreviated GR, entitled "Beyond the Zero," spans nine days of the Advent and Christmas season, from December 18 through December 26, 1944. There are also a number of carefully orchestrated analepses to the day several months earlier when the first V.2 rocket fell on England, to an Easter 1942 air raid by Allied bombers on the German city of Lubeck, which first prompted Hitler to warn of the coming Vergeltungswaffe. or "revenge weapons to prewar Britain; to the seventeenth-century Dutch colony of Mauritius, and to Puritan America, with all its millennial hopes. Braiding these separate strands of narrative together is a strong theme of anticipated redemption. Characters feel as though they stand poised at the edge of some sought-after revelation from beyond the zero" of empirical knowledge. The Advent season suggests one form that revelation might assume-the Nativity story. Yet Pynchon's depictions of technological, psychological, and paranormal research all demonstrate how modern culture secularizes that redemptive hope. Indeed, Pynchon's satire quickly erases the boundary between sacred and secular, and this erasure is signaled vividly in his epigraph to part 1. Long unknown but now identified thanks to Joseph Tabbi's excellent sleuthing see his Postmodern Sublime 5-6), the source was a little homily by Wernher von Braun, the Nazi and then NASA "Inventor & Space Expert" (which is how the author is identified at the beginning of the piece, that raises questions about scientific responsibility and about that responsibility in relation to a human afterlife, two major themes in GR. Pynchon's source was William Nichols's Third Book of Words to Live By i1962, which reads as follows: Why I Believe in Immortality that the soul of Man is immortal and will be treated with justice in another life respecting its conduct in this Benyamin Franklin Today, more than ever before, our survival-yours and mine and our children's depends on our adherence to ethical principles. Ethics alone will decide whether atomic energy will be an earthly blessing or the source of mankind's utter destruction Where does the desire for ethical action come from? What makes us want to be ethical? I believe there are two forces which move us. One is belief in a Last Judgment, when every one of us has to account for what we did with God's great gift of life on the earth. The other is belief in an immortal soul, a soul which will cherish the reward or suffer the penalty decreed in a final Judgment. Belief in God and in immortality thus give us the moral strength and the ethical guidance we need for virtually every action in our daily lives. in our modern world many people seem to feel that science has some how made such religious ideas" untimely or old-fashioned. But I think science has a real surprise for skeptics. Science, for in stance, tells us that nothing in nature, not even the tiniest particle, can disappear without a trace
Think about that for a moment. Once you do, your thoughts about life will never be the same. Science has found that nothing can disappear without a trace. Nature does not know extinction. All it knows is transformation! Now, if God applies this fundamental principle to the most minute and insignificant parts of His universe, doesn't it make sense to assume that He applies it also to the masterpiece of His creation-the human soul? I think it does. And everything that science has taught me and continues to teach me. strengthens my belief in the continuity of our spiritual existence after death. Nothing disappears without a trace Pynchon's epigraph radically trims the German rocket man's implicit claims that modern science will validate transcendentalist beliefs in an afterlife. Still more significantly, Pynchon excises von Braun's claims that a belief in immortality creates a human desire for ethical action or "transformation in particular a need to prevent nuclear holocaust that is itself a possible con sequence of the brainchildren of applied scientists like Von Braun. The irony of von Braun's concern is one that a few perceptive critics-like Joel Dana Black (23-24) have understood even without having the source text. In deed, with respect to such ironies note that Pynchon further excises the text's own epigraph from Ben Franklin (an earlier, kite-in-the-sky space ex pert) and its thoughts about divine justice, a deletion that GR might be said to massively backfill by figuring von Braun's V-2 rocket as epitome of modern war machinery and terror. In any case, von Braun's text corresponds thematically with Pynchon's concern throughout part l of GR with "the other side," with paranormal and metaphysical being. Numerological correspondences also shape part 1.Discounting analepses, the narration is carefully plotted through nine winter days, in turn, the novel spans nine months, from mid-December to mid-September of 1945. There are twenty-one episodes in part 1; the tarot deck has twenty-one numbered cards, if one omits the Fool, which is a zero or null card with no assigned place in the tarot sequence. And this part begins a sequence of astrological correspondences. Events in these episodes unfold under the sign of Pisces Sagittarius, the ninth house in the astrological calendar, would be the actual sign, but symbolically, virtually, the action everywhere takes place on a Piscean aspect because this house, the twelfth, stands for death and dissolution for contact with the supernatural, as well as for warfare and strife. In part 2, Aries will emerge as a sign of renewals and departures.
Nature does not know extinction; all it knows is transformation. Everything science has taught me, and continues to teach me, strengthens my belief in the continuity of our spiritual existence after death.
—WERNHER VON BRAUN
自然は消滅を知らず、変換を続けるのみ。過去現在を通じて、科学が私に教えてくれるすべてのことは、霊的な生が死後も継続するという考えを強めるばかりである。
-- ヴェルナ ヴォン ブラウン
自然(しぜん)は消滅(しょうめつ)を知（し）らず、変換（へんかん）を続（つず）けるのみ。過去現在（かこげんざい）を通（とう）じて、科学（かがく）がわたしにおしえてくれるすべてのことは、霊的（れいてき）な生が死後（しご）も継続（けいぞく）するという考えを強（つよ）めるばかりである。
자연은 소멸을 모른다. 단지 변환을 알고 있을 뿐. 여태껏 과학에서 배운 모든 것들, 지금도 배우고 있는 그 모든 것들에, 우리가 죽은 뒤에도 영혼이라는 존재로 계속해서 남으리라는 나의 믿음은 강해질 뿐이다.
- 베르너 폰 브라운
일주
＊ナチスのロケットの開発者フォンブラウン博士は、敗戦時に米軍に投降、アメリカに渡ってアポロ計画を主導した。この神秘主義的な言葉出典はウィリアム・ニコルズ篇 『生きるよすがとすべき言葉の本』（一九六二）に寄せた「私はなぜ不死を信じるか」という短文。
나치 로켓 연구가 폰 브라운 박사는, 독일 패전 때 미군에 투항하고 미국으로 건너가 아폴로 계획을 주도했다.
1
컴패니언 1장 노트
EPISODE I
The novel opens around dawn in the London cottage of Pirate Prentice. Episodes l through 5 all occur on the same day, which subsequent allusions pinpoint as Monday, December 18, 1944. This episode begins with Pirate dreaming about the evacuation from London of its preterite souls who pass under the final arch," symbol of "a judgment from which there is no appeal" (V4.2-41. With the end-times motif thus established in a nightmare vision, Pirate awakens to the fall of a comrade, whom he manages to save the impending fall of a 2 rocket, just launched from Holland, against and to which he and the Allied forces are powerless to save anyone. Watching the morning sun illuminate its vapor trail over the North Sea, Pirate imagines the light refracting into a rainbow that could only be not a parabola, but a perfect circle.
A Screaming comes across the sky. It has happened before, but there is nothing to compare it to now.
一筋の叫びが空を裂いて飛んでくる。[*1] 前にもあった、だが今のは何とも比べようがない。
一筋（ひとすじ）の叫（さけ）びが空（そら）を裂（さ）いて飛（と）んでくる。前にもあった、だが今のは何とも比（くら）べようがない。
한 번의 절규가 하늘을 가로질러온다. 예전에 그랬듯. 그러나 이제, 이와 비교할 만한 것은 아무 것도 없다.
일주
*1 ロンドンに最初のV2ロケットが落ちてきたのは一九四四年九月のこと。約1トンのアマトール爆薬を搭載した超音速ロケットは、ロンドンへは翌年三月までに、総計11二00機以上が飛来した。市民の大規模な疎開は、V1（翼のついた無人飛行爆弾）による攻擊とともにこの年の六月に始まっている。
It is too late. The Evacuation still proceeds, but it's all theatre. There are no lights inside the cars. No light anywhere.
컴주(컴패니언 주)
V3.3, B3.3-4, P3.3 The Evacuation still proceeds, but it's all theatre. Historically, this is a fair analogy. When Germany began its V-1 or buzz bomb offensive in June 1944, one and a half million civilians were evacuated from London. Minister of Home Security Herbert Morrison was also prepared to order an almost total evacuation if the expected barrage of rockets proved as devastating as he feared British intelligence experts had predicted that the rocket would carry a warhead of seven tons, and Hitler was boasting that Nazi rockets would deliver five hundred tons of explosives each hour. However, when the first 2 dropped on Chiswick in September, British intelligence quickly realized that the weapon would be much weaker lit carried not seven tons of amatol explosive but one) and nowhere near as prolific i1517 hit London during the entire seven months of V-2 assault Still, the V-2's proved an effective weapon of terror, and to calm citizens the British Home Security office proceeded with some of its evacuation plans. Irving (Mare's Nest 80, 280-81, 287-88) sees the evacuations as good public relations with Londoners needing assurances.
いまさら手遅れだ。<疎開>は続くが、ただの見てくれでしかない。列車の中は真っ暗。わずかな光もない、どこにもだ。
いまさら手遅れだ。<疎開（そかい）>は続くが、ただの見てくれでしかない。列車の中は真っ暗（まっくら）。わずかな光もない、どこにもだ。
너무 늦었다. '피난'은 여전히 계속되지만 모두 연극일 뿐. 차량 속은 칠흙같은 어둠. 어디에도 불빛은 없다.
Above him lift girders old as an iron queen, and glass somewhere far above that would let the light of day through. But it's night. He's afraid of the way the glass will fall—soon—it will be a spectacle: the fall of a crystal palace. But coming down in total blackout, without one glint of light, only great invisible crashing.
컴주
V3.7, B3.8-9, P3.7-8 the fall of a crystal palace A reference to the glass-and-iron display hall designed by Sir Joseph Paxton for the Great Exhibition of 1851. From 1854 (when it was put back up after having been dismantled in 1851) until 1936, when it was razed by fire, the structure stood-a symbol of Victorian progress-in London's Hyde Park. Two of its towers survived the fire but were dismantled in 1940 to prevent German bomber crews from using them as landmarks.
頭上に組み上がった鋼材は鉄の女王と同じくらい古び、そのはるか上にガラス屋根。昼間なら光を通すだろうが今は闇だ。ガラスが落ちてきたらどんなことになるだろうかと不安になる--もうすぐ--壮観だろう。水晶宮の崩落。漆黒の中にかすかなキラメキもないまま起こる、巨大な不可視のクラッシュ。
頭上（ずぞう）に組み上がった鋼材（こうざい）は鉄の女王と（アイアンークイーン）同じくらい古び、そのはるか上にガラス屋根。昼間なら光を通（とう）すだろうが今は闇だ。ガラスが落ちてきたらどんなことになるだろうかと不安になる--もうすぐ--壮観（そうかん）だろう。水晶宮（クリスタルーパレス）の崩落（ほうらく）。[*2] 漆黒（しっこく）の中にかすかなキラメキもないまま起こる、巨大（きょだい）な不可視（ふかし）のクラッシュ。
그의 머리 위엔 철의 여왕만큼이나 오래된 도리가 걸려 있고, 그 한참 위 어딘가에는 낮이었다면 햇빛을 내려 보내 주었을 유리창이 있을게다. 그러나 지금은 밤. 그는 --곧-- 떨어져 내릴 유리창의 장관을 걱정한다. 유리궁전의 붕괴를. 그러나 단 한 줄기의 빛도 없는 철저한 암흑 속에서 떨어지는 그것은, 그저 보이지 않는 대단한 추락일 뿐.
일주
*2 一八五一年のロンドン万博会場となった鉄とガラスの大建築物。一九三六年の火事で崩落
Inside the carriage, which is built on several levels, he sits in velveteen darkness, with nothing to smoke, feeling metal nearer and farther rub and connect, steam escaping in puffs, a vibration in the carriage's frame, a poising, an uneasiness, all the others pressed in around, feeble ones, second sheep, all out of luck and time: drunks, old veterans still in shock from ordnance 20 years obsolete, hustlers in city clothes, derelicts, exhausted women with more children than it seems could belong to anyone, stacked about among the rest of the things to be carried out to salvation. Only the nearer faces are visible at all, and at that only as half-silvered images in a view finder, green-stained VIP faces remembered behind bulletproof windows speeding through the city....
컴주
v3.14, B3.16, P3.14 second sheep In the terms of Calvinist theology, second sheep are preterite, those predestined for abandonment at the moment of Christ's apocalyptic return, in contrast to the elect who are predestined for redemption. Here Pynchon commences a string of theological references to the doctrine of preterition, which his distant ancestor William Pynchon-like an ancestor of the novel's protagonist Tyrone Slothrop - undermined in his theological writings (see especially V555 29-31
車輛の内部は何段にもなっている。ビロードのような闇の中、煙草もなく彼は腰を下ろしている。近くでも遠くでも金属が軋り合い、連結し、蒸気が噴霧となって圧を逃れる。車輛が振動するのが伝わってくる。宙づり感、みなぎる不安、まわり中すし詰めだ。虚弱者たち、第二の羊、[*3] 運に見放され時から落ちこぼれた者--酔っぱらいも、二十年前の被弾のショックからいまだ立ち直れない退役軍人も、背広を着たハスラーも、浮浪者も、信じがたい数の子供を抱え憔悴した母親もいる。あらゆる者が一緒くたに積みこまれ救済のため運び出される。ごく近くの顔だけがほのかに浮かぶが、その顔もカメラのファインダーで見るように銀色がかって、車を飛ばし街を逃げ出すVIPの、防弾窓の向こうに想像される緑に染まった顔のよう…
車輛（しゃりょう）の内部は何段にもなっている。ビロードのような闇の中、煙草（たばこ）もなく彼は腰（こし）を下ろしている。近くでも遠くでも金属（きんぞく）が軋（きし）り合い、連結し、蒸気（ぞうき）が噴霧となって圧を逃れる。車輛が振動するのが伝（つた）わってくる。宙（ちゅう）づり感、みなぎる不安、まわり中すし詰（ず）めだ。虚弱者（ぎょざくしゃ）たち、第二の羊（ひつじ）、運に見放（みはな）され時から落ちこぼれた者--酔っぱらいも、二十年前の被弾（ひだん）のショックからいまだ立ち直れない退役軍人（たいえきぐんじん）も、背広（せびろ）を着たハスラーも、浮浪者（ふろうしゃ）も、信じがたい数（かず）の子供を抱（かか）え憔悴（しょうすい）した母親もいる。あらゆる者が一緒くたに積（つ）みこまれ救済（きゅうさい）のため運（はこ）び出される。ごく近くの顔だけがほのかに浮（う）かぶが、その顔もカメラのファインダーで見るように銀色がかって、車を飛（と）ばし街（がい？）を逃（に）げ出すVIPの、防弾窓（ぼうだんまど）の向こうに想像（そうぞう）される緑に染（そ）まった顔のよう…
일주
*3 カルヴァン派の教義「予定説」における「見捨てられし者」（プレテリット）の異称。
여러 층으로 이루어진 차량. 그 안에서, 장막에 가리운 어둠 속에서 그는 담배 한 대 없이 자릴 잡고 앉아, 멀리서 가까이에서, 쇠붙이가 서로 부딪히며 연결되는 것을 느끼고, 숨가뿐 증기의 탈출을, 차체의 진동, 주변에 가득 차 있는 다른 사람들, 약한 인간들, 버림받은 양들, 이제 운도 시간도 다 떨어진, 그들의 균형과 불안정을 느낀다. 그들은 주정뱅이들, 20년 전에 땅에 묻힌 포탄의 충격에 아직도 사로잡혀 있는 퇴역군인들, 도시풍 차림의 도박군들, 낙오자들, 한 배에서 나왔다고는 믿기 힘들 만큼 많은 아이들을 데리고 있는 지친 여자들, 구원의 장소로 실려나가길 기다리는 다른 모든 것들과 함께 이리저리 쌓여 있는 그들. 가까이 있는 사람들의 얼굴이나 간신히 보일 뿐, 그것도 뷰 파인더속 불분명한 영상으로. 마치 도시를 가로질러 바쁘게 지나가는 방탄창 뒤 녹색 얼룩으로 남은 고위인사들의 얼굴처럼...
번역 메모
half-silvered : 불분명한보다는 '반반사되어 뷰파인더로 보이는'이 더 정확한 뜻인 것 같습니다.
They have begun to move. They pass in line, out of the main station, out of downtown, and begin pushing into older and more desolate parts of the city. Is this the way out? Faces turn to the windows, but no one dares ask, not out loud. Rain comes down. No, this is not a disentanglement from, but a progressive knotting into—they go in under archways, secret entrances of rotted concrete that only looked like loops of an underpass . . . certain trestles of blackened wood have moved slowly by overhead, and the smells begun of coal from days far to the past, smells of naphtha winters, of Sundays when no traffic came through, of the coral-like and mysteriously vital growth, around the blind curves and out the lonely spurs, a sour smell of rolling-stock absence, of maturing rust, developing through those emptying days brilliant and deep, especially at dawn, with blue shadows to seal its passage, to try to bring events to Absolute Zero . . . and it is poorer the deeper they go ... ruinous secret cities of poor, places whose names he has never heard. . . the walls break down, the roofs get fewer and so do the chances for light. The road, which ought to be opening out into a broader highway, instead has been getting narrower, more broken, cornering tighter and tighter until all at once, much too soon, they are under the final arch: brakes grab and spring terribly. It is a judgment from which there is no appeal.
컴주
v3.29, B3.35, P4.5 naphtha winters Naphtha is the flammable liquid obtained from the distillation of coal and used to fire gaslights and heaters. The first of many coal derivatives mentioned in the narrative.
v3.34, B4.3, P4.10 Absolute Zero The centigrade temperature of 273.15 degrees, at which matter possesses the least energy, th cally inert condition. In Pavlov's neuropsychiatric writinge, however the term assumes a parallel meaning Pynchon will so unreinforced conditioned reflex without any repetitions ends in every case in extinction, Ireturnsl to an absolute zero" (Lee 2 12 Here, it signifies total nonresponsiveness to external stimuli, thus chologically inert condition, the imagined death in Pirate's dream
動きだした。まっすぐに、中央駅から、中心街を抜け、旧市街のより荒廃した地区へ。これは脱出の道なのか。顔たちが窓のほうを向く。だが誰も疑問を口にしようとしない。雨が降りおちる。いや、これは解けていくのではなく、ますます縺れていく過程なのだ11アーチの入口にさしかかった。朽ちたコンクリートの秘密の入口、一見それはふつうのアンダーパスの円弧のようにしか見えない...黒ずんだ木組みの構造が頭上を過ぎた。石炭の匂いがただよう。遠い過去の匂い、ナフサ[*４]の冬の匂い、交通の絶えた日曜日の匂い、成長する珊瑚のような謎に充ちた生の匂い...いきなりのカーブを曲がってさびれた支線を進む。鼻を突くサビの匂い。運行から見放された線路で、まぶしく深く空虚に向かう日々を通して進行していく酸化の過程。ことに夜明けの蒼い影に覆われた下で進展するそれは、出来事を<絶対のゼロ>へ運んでいく...奥へ進めば進むほど貧しい...荒んだ貧者の秘密の街、その名も聞いたことのない場所...壁が壊れ屋根がなくなるとともに光の可能性も減っていく。行く手はだんだん開けていくはずなのに、さにあらず、しだいに先細り、つっかえ、カーブも急になり、そして唐突に、こんなにも早く、最後のアーチの下に出た。摑みかかり飛び跳ねるブレーキ。審判が下ったのだ、上告などありえない判決が。
動きだした。まっすぐに、中央駅（ちゅうおうえき）から、中心街（ちゅうしんまち？）を抜け、旧市街（きゅうしがい）のより荒廃（こうはい）した地区（ちく）へ。これは脱出の道なのか。顔たちが窓のほうを向く。だが誰も疑問を口にしようとしない。雨が降りおちる。いや、これは解（と）けていくのではなく、ますます縺（もつ）れていく過程なのだ−アーチの入口にさしかかった。朽（く）ちたコンクリートの秘密の入口、一見それはふつうのアンダーパスの円弧（えんこ）のようにしか見えない...黒（くろ）ずんだ木組みの構造（こうぞう）が頭上を過（す）ぎた。石炭（せきたん）の匂（にお）いがただよう。遠い過去の匂い、ナフサの冬の匂い、交通（こうつう）の絶（た）えた日曜日の匂い、成長（せいちょう）する珊瑚（さんご）のような謎（なぞ）に充（に）ちた生の匂い...いきなりのカーブを曲がってさびれた支線（しせん）を進む。鼻を突（つ）くサビの匂い。運行（うんこう）から見放された線路（せんろ）で、まぶしく深（ふか）く空虚（くうきょ）に向かう日々（ひび）を通して進行（しんこう）していく酸化（さんか）の過程。ことに夜明（よあ）けの蒼（あお）い影（かげ）に覆（おう）われた下で進展（しんてん）するそれは、出来事（できごと）を<絶対のゼロ>へ運（はこ）んでいく...奥（おく）へ進めば進むほど貧（まず）しい...荒（すさ）んだ貧者（ひんじゃ）の秘密の街、その名も聞いたことのない場所（ばしょ）...壁（かべ）が壊（こわ）れ屋根がなくなるとともに光の可能性（かのうせい）も減（へ）っていく。行（ゆ）く手はだんだん開（あ）けていくはずなのに、さにあらず、しだいに先細（さきぼそ）り、つっかえ、カーブも急（きゅう）になり、そして唐突（とうとつ）に、こんなにも早く、最後のアーチの下に出た。摑（？）みかかり飛（と）び跳（は）ねるブレーキ。審判（しんぱん）が下（くだ）ったのだ、上告（じょうこく）などありえない判決（はんけつ）が。
일주
*４ 原油を蒸溜して得られる透明な液体。プラスチックなど石油化学品の原料となる。
그들은 움직이기 시작했다. 역을 빠져나와, 시내를 벗어나, 줄을 지어 움직인다, 그리고 낡고 점점 더 황량한 구역으로 밀려 간다. 출구인가? 창문쪽으로 얼굴을 돌려 보지만 아무도 감히 소리 내어 묻지 못한다. 비가 내린다. 아, 매듭을 푸는 것이 아니라, 점점 _엉켜 들어가는 것_ - 굴다리 밑을 지난다. 단지 지하통로의 반복인듯 보였던 것은 부식해가는 콘크리트 속의 비밀 입구 ... 검게 그슬린 목재 다리가 머리 위로 천천히 지나 가고, 아주 먼 과거로 사라져 버린, 그 시절의 석탄 냄새, 나프타 겨울의 냄새, 차들이 하나도 없는 일요일, 산호처럼 신비하게 건너편이 보이지 않는 커브를 돌아 동떨어진 샛길 쪽으로 생생한 모양으로 자라나는 생명체의 냄새, , 그 곳 텅 빈 철도길의 시큼한 냄새, , 특히 새벽에, 갈 길을 막고 모든 것을 절대영점으로 되돌리려는 푸른 그림자를 뚫고, 텅 비어가는 날들, 그 속으로 깊고 환하게 뻗어 가는 묵은 녹 냄새, ... 가면 갈수록 더한 빈곤... 가난한 자들의 황폐한 비밀도시들, 그가 _한 번도 들어보지 못한 이름의_ 지역들 ... 벽이 무너진다, 지붕이 남아 있는 집들은 점점 없어지고, 전등빛을 볼 수 있는 기회도 역시 없어진다. 넓은 간선도로로 연결되어야 할 그 길은 오히려 낡고 좁아져만 가고, 점점 급해지는 커브길은 너무나도 빨리, 그들을 갑작스런 마지막 아치 밑으로 인도한다. 멈춰 선 브레이크는 심하게 요동친다. 마지막 선고. 이에 대한 항소는 있을 수 없다.
한글주
절대 영점 : 캘빈 온도 기준으로 절대 0도 섭씨 온도 기준으로 약 -237 도가되며 이는 이론적 인 최저 온도이다 즉 열이 0 인 상태를 가리킨다. 기타 여러 상징적인 의미를 가진다.
The caravan has halted. It is the end of the line. All the evacuees are ordered out. They move slowly, but without resistance. Those marshaling them wear cockades the color of lead, and do not speak. It is some vast, very old and dark hotel, an iron extension of the track and switchery by which they have come here. . . . Globular lights, painted a dark green, hang from under the fancy iron eaves, unlit for centuries . . . the crowd moves without murmurs or coughing down corridors straight and functional as warehouse aisles . . . velvet black surfaces contain the movement: the smell is of old wood, of remote wings empty all this time just reopened to accommodate the rush of souls, of cold plaster where all the rats have died, only their ghosts, still as cave-painting, fixed stubborn and luminous in the walls . . . the evacuees are taken in lots, by elevator—a moving wood scaffold open on all sides, hoisted by old tarry ropes and cast-iron pulleys whose spokes are shaped like Ss. At each brown floor, passengers move on and off. . . thousands of these hushed rooms without light. . . .
隊列は停まった。路線はここまで。疎開者はみな外へ出ろと。ゆっくりながら抵抗のない歩み。鉛色の帽章をつけた引率者は押し黙ったままだ。途轍もなく大きなホテル、異様に古くて暗いそこはすべて鉄製、まるで線路と転轍機の延長だ。...濃緑色に塗られ、何世紀も点灯されぬまま、複雑な形の鉄の庇から垂れたグローブライト…群衆はざわめかず咳もせず、まっすぐで機能的で倉庫の通路のような回廊を進む...ビロードの黒い表面が行進を包みこむ。古い木の匂い。流入する疎開者を受け入れるため長期の空白から呼び覚まされた遠隔の翼棟では、冷たい漆喰の壁に死滅した鼠たちの霊が洞窟に頑固な光のシミとなって張りついている...疎開者らはグループにわかれ昇降機へ入っていく-四方があいた処刑台のような木製のそれは、タールを塗った古いロープとS字型のスポークをもつ銑鉄の滑車で引き上げられる。昇降機が止まると、そのつど褐色のフロアで動きが始まる…明かりのない、黙りこくった何千もの部屋たち…
隊列（たいれつ）は停（と）まった。路線（ろぜん）はここまで。疎開者はみな外へ出ろと。ゆっくりながら抵抗（ていこう）のない歩（あゆ）み。鉛色（なまりいろ）の帽章（ぼうしょう）をつけた引率者（いんそつしゃ）は押（お）し黙（だま）ったままだ。途轍（とてつ）もなく大きなホテル、異様（いよう）に古くて暗いそこはすべて鉄製（てつせい）、まるで線路と転轍機（てんてつき）の延長（えんちょう）だ。...濃緑色（こみどりいろ）に塗（ぬ）られ、何世紀（なんせき）も点灯（てんとう）されぬまま、複雑（ふくざつ）な形（かたち）の鉄の庇（ひさし）から垂（た）れたグローブライト…群衆（ぐんしゅう）はざわめかず咳（せき）もせず、まっすぐで機能的（きのうてき）で倉庫（そうこ）の通路（つうろ）のような回廊（かいろう）を進む...ビロードの黒い表面（ひょうめん）が行進（きょうしん）を包（つつ）みこむ。古い木の匂い。流入（りゅうにゅう）する疎開者を受け入れるため長期（ちょうき）の空白（くうはく）から呼（よ）び覚（さ）まされた遠隔（えんかく）の翼棟（よくとう）では、冷（つめ）たい漆喰（しっくい）の壁に死滅（しめつ）した鼠（ねずみ）たちの霊が洞窟（どうくつ）に頑固（がんこ）な光のシミとなって張（は）りついている...疎開者らはグループにわかれ昇降機（しょうこうき）へ入（はい）っていく−四方（よも）があいた処刑台（しょけいだい）のような木製（もくせい）のそれは、タールを塗（ぬ）った古いロープとS字型（じけい）のスポークをもつ銑鉄（せんてつ）の滑車（かっしゃ）で引き上げられる。昇降機が止まると、そのつど褐色（かっしょく）のフロアで動きが始まる…明（あ）かりのない、黙（だま）りこくった何千（なんせん）もの部屋たち…
행렬은 멈추었다. 선로의 끝. 명령에 따라, 피난민들이 모두 내린다. 천천히, 그러나 저항없이 움직인다. 모자에 납빛배지를 단 인솔자들은 아무 말 없다. 아주 오래된, 넓고 어두운 이 호텔들은, 여기까지 그들을 데려 온 철로와 연결쇠들의 연장선일 뿐. 어두운 녹색으로 칠한, 수세기동안 켠 적 없는 구형 조명들이 화려한 철제 지붕 가장자리에 매달려 있다 ... 군중은 중얼거림도 기침 소리도 없이, 마치 창고의 통로처럼 잘 정렬된 복도들을 따라 움직인다... 검은 벨벳 바닥이 움직임을 흡수한다. 오래된 목재. 그리고, 한참이나 비어 있다가, 갑작스럽게 밀려드는 영혼들을 수용하기 위해서 새로 막 문을 연 동떨어진 곳의 부속건물. 다른 편에선, 그 모든 죽은 쥐들이 파 묻혀, 이젠 오직 그들의 영혼만이 동굴벽화처럼 끈질기고 선명하게 남아 있는, 차가운 석회벽의 냄새가 난다 ... 피난자들은 몇 무리로 나뉘어 엘리베이터에 실린다 - 엘리베이터는 사방이 모두 뚫린, 타르칠 된 낡은 로프와 주물된 철로 만들어진 에스자의 고리가 달린 도르레로 움직이는 나무판이다. 갈색 층마다 사람들이 빠져 나간다... 수천개의 어둡고 숨죽인 방들....
Some wait alone, some share their invisible rooms with others. Invisible, yes, what do the furnishings matter, at this stage of things? Underfoot crunches the oldest of city dirt, last crystallizations of all the city had denied, threatened, lied to its children. Each has been hearing a voice, one he thought was talking only to him, say, "You
didn't really believe you'd be saved. Come, we all know who we are by now. No one was ever going to take the trouble to save you, old fellow...."
ある者はひとりで待ち、ある者は何ひとつ見えない部屋を他人と分かつ。そうだよ、不可視なんだ、ここに及んで部屋の備えがどうだろうと構うものか。彼らの靴が踏みしめているのは古い古い土くれ。都市が拒絶し、脅しをかけ、子供らに隠してきたそのすべてが降り積もり固まったもの。先程から耳もとに、自分にだけささやくような不思議な声が聞こえていた。「まさか救われるなどと思ってはいないだろうな。さあ、われわれみんな、どういう人間か、正体は知れたのだ。誰もわざわざお前らなんぞを救おうとはしなかったということだ…」[*5]
일주
*5 自分は「選ばれのきだったのか「破滅の運命」にあり、たのかとい宗教的なテーマが絡む。
ある者はひとりで待（ま）ち、ある者は何ひとつ見えない部屋を他人と分（わ）かつ。そうだよ、不可視なんだ、ここに及（およ）んで部屋の備（そな）えがどうだろうと構（かま）うものか。彼らの靴（くつ）が踏（ふ）みしめているのは古い古い土（つち）くれ。都市（とし）が拒絶（きょぜつ）し、脅（おど）しをかけ、子供らに隠（かく）してきたそのすべてが降（ふ）り積（つ）もり固（かた）まったもの。先程（さきほど）から耳もとに、自分にだけささやくような不思議（ふしぎ）な声が聞こえていた。「まさか救（すく）われるなどと思ってはいないだろうな。さあ、われわれみんな、どういう人間か、正体（しょうたい）は知れたのだ。誰もわざわざお前らなんぞを救（すく）おうとはしなかったということだ…」
어떤 이들은 홀로 기다리고, 어떤 이들은 눈에 보이지 않는 그들의 방을 다른 이들과 공유한다. 그래, 보이지 않는 방. 이런 상황에서, 살림이 무슨 필요인가? 발밑엔 도시에서 가장 오래된 흙이 으스러진다. 그것은 도시가 자기 아이들에게 협박과 속임수를 통해, 주길 거부한 모든 것. 그 모든 것들이 마지막으로 결정체를 이룬 것. 모두 어떤 목소리가, 자기에게만 들리는 것이라 생각하는 목소리가 "진짜 구원을 바란건 아니었지? 이봐, 이제 우리가 누군진 모두 알고 있잖아. _너를_ 구원해줄 수고를 할 사람은 아무도 없어, 친구...."라고 말하는 걸 듣는다.
There is no way out. Lie and wait, lie still and be quiet. Screaming holds across the sky. When it comes, will it come in darkness, or will it bring its own light? Will the light come before or after?
出てゆくことはできない。横になって待つんだ、黙って身を横たえていろ。空を裂く叫びが止まった。それが落ちてくるのは闇の中なのか、それともそれは自身の光を携えてくるのか。光は先か、それとも後か？
出てゆくことはできない。横になって待つんだ、黙（だま）って身を横たえていろ。空を裂く叫びが止まった。それが落ちてくるのは闇の中なのか、それともそれは自身（じしん）の光を携（たずさ）えてくるのか。光は先か、それとも後か？
출구는 없다. 그저 누워서 기다릴 뿐. 가만히 누워서 조용히. 절규가 하늘을 가로질러 머물러 있다. 때가 되면 그것은, 어둠 속에서 내려올 것인가? 아니면 빛과 함께? 빛이 먼저 도착할까? 아니면 나중에?
But it is already light. How long has it been light? All this while, light has come percolating in, along with the cold morning air flowing now across his nipples: it has begun to reveal an assortment of drunken wastrels, some in uniform and some not, clutching empty or near-empty bottles, here draped over a chair, there huddled into a cold fireplace, or sprawled on various divans, un-Hoovered rugs and chaise longues down the different levels of the enormous room, snoring and wheezing at many rhythms, in self-renewing chorus, as London light, winter and elastic light, grows between the faces of the mullioned windows, grows among the strata of last night's smoke still hung, fading, from the waxed beams of the ceiling. All these horizontal here, these comrades in arms, look just as rosy as a bunch of Dutch peasants dreaming of their certain resurrection in the next few minutes.
컴주
V4.36, B5.7-8, P5.9 un-Hoovered rugs That is, unvacuumed, after the popular brand of vacuum cleaner manufactured in Ohio. For as ads in the Times of London used to claim, "Post-war as Pre war for Your Ideal Home, Be It Castle or Cottage, the World's Best Cleaner Is THE HOOVER ."
おや、もう光がきている。[*6]いつからだろう。部屋に光が浸透しはじめ、朝の冷気と溶け合いつつ彼の乳首を横切るように流れ、酔いつぶれた人間どもの散らばりを示している。軍服を着た者、脱いでいる者、カラになったか残り少ない酒瓶を手にしたままの者、椅子に覆いかぶさった者、火のない暖炉にうずくまった者、巨大な部屋の各層の長椅子、寝椅子、埃だらけの敷物の上で伸びている男たちから、不調和なリズムでガーゴーゼーゼいびきの自動コーラスがわき上がるさまを、ロンドンの、冬のしなやかな光がとらえる。中仕切り入りの窓と窓の間に光が広がる。消えつつも今なおたなびく昨夜の煙草のケムリの間に、天井の蠟引き梁のまわりに光が充ちる。横たわる戦友たちの顔はみんなバラ色、数分後には死から確実に復活する夢を見ているオランダ農夫のようだ。
일주
*6 ピンチョン研究家 スティーヴン…ゼンバーガーが、当時の新聞の天気欄やラ、ジオ番組表 に基づいて推断したところによると、一九四四年 十二月十八日の朝が明けた（A Gravity's Rainbow Companion 改訂拡充版、2006, 以下 『 GRC 』と略記）。以後、しばらく同じ日の出来事が描かれ、86ページからが犬の捕獲の夜半過ぎということになる。
おや、もう光がきている。いつからだろう。部屋に光が浸透（しんとう）しはじめ、朝の冷気と溶（と）け合いつつ彼の乳首（ちくび）を横切（よこぎ）るように流（なが）れ、酔いつぶれた人間どもの散（ち）らばりを示（しめ）している。軍服（ぐんぷく）を着た者、脱いでいる者、カラになったか残り少ない酒瓶（さけびん）を手にしたままの者、椅子に覆（おう）いかぶさった者、火のない暖炉（だんろ）にうずくまった者、巨大な部屋の各層（かくそう）の長椅子（ながいす）、寝椅子（ねいす）、埃（ほこり）だらけの敷物（しきもの）の上で伸（の）びている男たちから、不調和（ふちょうわな）なリズムでガーゴーゼーゼいびきの自動コーラスがわき上がるさまを、ロンドンの、冬のしなやかな光がとらえる。中仕切（なかじき）り入りの窓と窓の間に光が広（ひろ）がる。消（き）えつつも今なおたなびく昨夜（さくや）の煙草のケムリの間（ま）に、天井（てんじょう）の蠟引（？）き梁（はり）のまわりに光が充（み）ちる。横たわる戦友（せにゅう）たちの顔はみんなバラ色、数分後（すうふんご）には死（し）から確実（かくじつ）に復活（ふっかつ）する夢を見ているオランダ農夫（のうふ）のようだ。
_그러나 이미 날이 밝았다._ 언제부터였을까? 언제인가 빛은, 지금 그의 젖꼭지 위로 흐르고 있는 차가운 아침 공기와 함께 스며 들어 온 것이다: 런던의 빛, 겨울 속을 튕겨 가는 빛이, 왁스칠된 천정의 받침목에 아직도 걸린 채, 희미해져 가는 어제의 담배연기의 지층 사이로, 문설주에 끼어진 유리창들 사이로 파고 들어, 거대한 방 층층이, 몇 몇 유니폼을 입고, 빈 병, 아니면 거의 바닥이 난 병들을 움켜쥔 채, 여기 이렇게 의자 위에 널부러져 있고, 혹은 저기 저렇게 다 식은 벽난로 앞에 웅크려 있는, 아니면 여러가지 등받침 없는 소파나, 청소 안 된 양탄자 바닥이나 접이 의자위에 퍼져, 각자의 리듬에 따라 계속 다른 화음을 만들며 코를 골고 숨을 가쁘게 내쉬는 다양한 주정뱅이들을 비추기 시작한다. 옆으로 늘어 서 있는 이 모든 사람들. 전우들. 그들은 마치 곧 다가올 보장된 부활을 꿈꾸는 일단의 네덜란드 농부들처럼 얼굴에 장미빛을 띄고 있다.
His name is Capt. Geoffrey ("Pirate") Prentice. He is wrapped in a thick blanket, a tartan of orange, rust, and scarlet. His skull feels made of metal.
컴주
V5.3, B5.17, P5.17 His name is Capt. Geoffrey ("Pirate") Prentice
Whose nickname refers us to the 1879 Gilbert and Sullivan opera The Pirates of Penzance, or, The Slave of Duty. In its opening act we learn how the hero, Frederic, was bound over as an indentured servant to a quite unsuccessful (because too merciful) pirate band; his nursemaid, Ruth, had misheard the instructions of Frederic's father, who envisioned his boy as apprentice-or, 'prentice. to a ship's pilot. In her first song from act 1, Ruth explains her error to Frederic's master the Pirate King.
I was a stupid nurserymaid,
On breakers always steering
And I did not catch the word aright,
Through being hard of hearing
Mistaking my instructions
Which within my brain did gyrate,
I took and bound this promising boy
Apprentice to a pirate.
A Sad mistake it was to make
And doom him to a vile lot.
I bound him to a pirate--you--
Instead of to a pilot.
彼の名はジェフリープレンティス。“の渾名で呼ばれる大尉である。[*7]体をくるむ分厚い毛布はオレンジと錆色と深紅のタータン織りだ。いま彼は頭がメタルになったように感じている。
일주
*7 ギルバートとサリパンの喜歌劇 『ペンザンスの海賊たち』（一八七九）の冒頭近くで子守女のルースが「操舵士pilot」の見習いを「海賊pirate」の見習いと聞き違えた。それに引っかけて、「見習いappren- tice」と似た名前のプレンティスは「海賊」の渾名で呼ばれる。
彼の名はジェフリープレンティス。”海賊（かいぞく）“の渾名（あだな）で呼ばれる大尉（たいい）である。体をくるむ分厚（ぶあつ）い毛布（もおふ）はオレンジと錆色（さびいろ）と深紅（しんく）のタータン織（お）りだ。いま彼は頭がメタルになったように感じている。
그의 이름은 지오프리 ('해적') 프렌티스 대위. 오렌지색, 갈색, 자주빛 격자 무늬 모직의 두꺼운 담요를 휘감고 있다. 머리가 쇳덩어리만큼 무겁다.
한글주
지오프리("해적") 프렌티스 대위 : 프렌티스는 수습생이라는 의미이다. 길버트와 설리번의 오페레타인 <팬전스의 해적>의 주인공은 유모가 부모의 유언을 잘못 알아들은 탓에 파일럿 수습생이되는 대신 해적 수습생이 된다. 파일럿과 파이럿(해적)의 발음이 유사해서 생긴 해프닝.
Just above him, twelve feet overhead, Teddy Bloat is about to fall out of the minstrels' gallery, having chosen to collapse just at the spot where somebody in a grandiose fit, weeks before, had kicked out two of the ebony balusters. Now, in his stupor, Bloat has been inching through the opening, head, arms, and torso, until all that's keeping him up there is an empty champagne split in his hip pocket, that's got hooked somehow—
その頭上四メートルの高みにある室内バルコニーの、何週間か前に誰かが激怒にまかせて黒檀の欄干を二本蹴りとばしたちょうどその位置で酔いつぶれたテディ・ブロートがずりずりと隙間から落ちそうだ。眠りこけたテディの頭と、左右の腕と胴体が、すでに大せきく迫りだしている。尻のポケットのシャンパンの空瓶がたまたまうまく引っ掛かって彼の落下を防いでいるだけー
その頭上（ずじょう）四メートルの高みにある室内バルコニーの、何週間（なんしゅうかん）か前に誰かが激怒に（げきどに）まかせて黒檀（こくたん）の欄干（らんかん）を二本蹴（け）りとばしたちょうどその位置（いち）で酔いつぶれたテディ・ブロートがずりずりと隙間（すきま）から落ちそうだ。眠りこけたテディの頭と、左右（さゆう）の腕（うで）と胴体（どうたい）が、すでに大（だい）せきく迫（せま）りだしている。尻（しり）のポケットのシャンパンの空瓶（あきびん）がたまたまうまく引っ掛（ひっか）かって彼の落下（らっか）を防（ふせ）いでいるだけー
그의 머리 바로 3미터쯤 위 악사들을 위한 회랑에선, 몇 주 전, 누군가 엄청난 발작을 일으키며 기둥 두개를 발로 차낸 바람에 생긴 검은 난간 사이 바로 그 틈으로, 어제밤 취해 쓰러진 테디 블로트가 추락할 참이다. 비몽사몽 간에, 그는 기둥이 부러져 나간 틈으로 미끄러져 간다. 머리, 팔, 몸통. 이제 그를 저 위에서 받치고 있는 것은 어쩌다가 난간에 걸려 버린 뒤주머니의 작은 빈 샴페인 병 뿐.
By now Pirate has managed to sit up on his narrow bachelor bed, and blink about. How awful. How bloody awful . . . above him, he hears cloth rip. The Special Operations Executive has trained him to fast responses. He leaps off of the cot and kicks it rolling on its casters in Bloat's direction. Bloat, plummeting, hits square amidships with a great strum of bedsprings. One of the legs collapses. "Good morning," notes Pirate. Bloat smiles briefly and goes back to sleep, snuggling well into Pirate's blanket.
컴주
V5.15, B5.30-31, P5.29 The Special Operations Executive Pirate's employer, the British equivalent of the U.S. Office of Strategic Services (OSS), was charged with gathering strategic and technical intelligence Irving iMare's Nest 209) discloses that during March of 1944 eleven SOE commandos were, like Pirate, parachuted into France and Holland to glean anything they could about the new German V weapons
狭くるしい簡易ベッドですでに身を起こしたパイレートが、瞬きながら周囲を見回す。なんてザマだ。ひどすぎる…そのとき頭上で布の裂ける音がした。SOE[*8]の諜報部員として鍛えられた彼の肉体は瞬時に反応し、飛びのきざまにベッドを蹴るとキャスターがガラゴロ転がり真っ逆さまに落ちてきたブロートをど真ん中でキャッチする。衝撃に、スプリングが高らかに鳴る。ベッドの足が一本折れた。「おはよう」とパイレート。ブロートは一瞬ニヤリとして、パイレートの毛布にぬくぬくと潜りこみ、そのまま眠りに戻っていく。
일주
*8 Special Operations Executive =特殊作戦執行部。ナチス占領下の欧州大陸で諜報・偵察破壊活動を行いつつ、地下レジスタンス運動を支援したイギリスの秘密組織。
狭（せま）くるしい簡易（かんい）ベッドですでに身を起こしたパイレートが、瞬（まばた）きながら周囲（しゅうい）を見回（みまわ）す。なんてザマだ。ひどすぎる…そのとき頭上で布（ぬ）の裂ける音がした。SOE[*8]の諜報部員(ちょうほうぶいん）として鍛（きた）えられた彼の肉体（にくたい）は瞬時（しゅんじ）に反応（はんおう）し、飛（と）びのきざまにベッドを蹴（け）るとキャスターがガラゴロ転（ころ）がり真っ逆さま（まっさかさま）に落ちてきたブロートをど真ん中（まんなか）でキャッチする。衝撃（しょうげき）に、スプリングが高らかに鳴（な）る。ベッドの足が一本折（お）れた。「おはよう」とパイレート。ブロートは一瞬ニヤリとして、パイレートの毛布（もうふ）にぬくぬくと潜（くぐ）りこみ、そのまま眠り（ねむり）に戻って（もどって）いく。
이제 '해적'은 좁은 싱글침대에 걸터 앉았다. 끔찍해. 정말 끔찍해... 그의 머리 위, 옷이 찢어지는 소리. 특수 작전 본부에서 훈련된 빠른 반사신경으로, 그는 야전 침대에서 뛰어 내려 바퀴 달린 침대를 발로 차 블로트 쪽으로 굴려 보낸다. 블로트는 침대 스프링의 거대한 울림소리와 함께 정가운데에 명중. 한 쪽 다리가 털썩 떨어진다. "잘 잤나?" '해적'이 인사를 건네면 블로트는 짧은 미소만 짓고 '해적'의 담요를 꼭 껴안은 채 다시 잠에 빠져든다.
한글주
특수 작전 본부 : 정보 담당 영국군 기관
Bloat is one of the co-tenants of the place, a maisonette erected last century, not far from the Chelsea Embankment, by Corydon Throsp, an acquaintance of the Rossettis' who wore hair smocks and liked to cultivate pharmaceutical plants up on the roof (a tradition
young Osbie Feel has lately revived), a few of them hardy enough to survive fogs and frosts, but most returning, as fragments of peculiar alkaloids, to rooftop earth, along with manure from a trio of prize Wes-sex Saddleback sows quartered there by Throsp's successor, and dead leaves off many decorative trees transplanted to the roof by later tenants, and the odd unstomachable meal thrown or vomited there by this or that sensitive epicurean—all got scumbled together, eventually, by the knives of the seasons, to an impasto, feet thick, of unbelievable black topsoil in which anything could grow, not the least being bananas. Pirate, driven to despair by the wartime banana shortage, decided to build a glass hothouse on the roof, and persuade a friend who flew the Rio-to-Ascension-to-Fort-Lamy run to pinch him a sapling banana tree or two, in exchange for a German camera, should Pirate happen across one on his next mission by parachute.
컴주
V5.21-22, B5.37-38, P5.35-36 a maisonette ... the Chelsea Embankment
Baedeker's London (158-59) describes the Embankment a fine boulevard constructed in 1871-74," extending along the north bank of the Thames "from Chelsea Bridge to Battersea Bridge, a distance of over a mile." Corydon Throsp is fictional, his first name deriving from the character in Greek poet Theocritus's pastoral works, means "ready for war" but also invokes André Gide 1924 Corydon, a defense of homosexuality as both socially and naturally a sign of advanced civilization. Throsp appears to be Pynchon's creation, while his "maisonette cottage) is characteristic of the area. Moreover, Pirate's bohemianism extends a tradition: Oscar Wilde lived at No. 16 Chelsea Embankment from 1884 until his trial in 1895 and the boulevard also skirts Cheyne Walk, once the home of Dante Gabriel Rossetti and Algernon Charles Swinburne, whose drunken carryings-on became legendary stuff .
V5.35-36, B6.12, P6.9 flew the Rio-to-Ascension-to-Fort-Lamy run Thus explaining how bananas would come to London during wartime: from Rio de Janeiro in Brazil, to the British mid-Atlantic naval station on Ascension Island, then to Fort-Lamy (now N'Djamena), the capital city of Chad (the French colony in equatorial Africa), then to England.
ブロートもここの借家人のひとりだ。チェルシーエンバンクメント[*9]にほど近い場所に位置するこの館は、前世紀にコリドン・スロスプなる、ロセッティ兄妹[*10]とも交流のあった男が建てた。スロスプはヘア・スモックを被った姿で屋上に上がり、幻覚系の植物の世話をするのを好んだ（その伝統は今日、年若いオズビーフィールが受けついでいる）。中にはロンドンの霧と霜に耐えて生きのこったのもあったとはいえ、屋上の草はおおむね枯れて腐り、その奇なるアルカロイド分子と共に土にかえった。その土の上に、後をついだ住人が飼育した折紙つきのウェセックスサドルバックの三頭の雌豚の垂れる糞便と、そのまた後をついだ住人たちが飾りに植えた木々の枯葉と、あまたの美食家が食べのこし吐きもどした名状しがたき食物が入りまじり、これを歳月の手がパテのようにこねまわして、厚さ数フィートに及ぶ、信じられないほど黒々とした極上の屋上庭園壌土ができあがった。この土なら、バナナだって育つことは請け合いだ。というわけで戦時のバナナ不足に胸を痛めていたパイレートは、ここにガラスの温室を作ることを思い立った。そしてリオーアセンション-フォール・ラミ[*11]を廻っている飛行機乗りの友人にバナナの若木を持ち帰ってくるようにせがんだ。次に落下傘部隊の出動がかかったらドイツ製のカメラを分捕ってきてお返しすると約束して。
일주
*9 テムズ河北岸の遊歩道のうち、都心の南西チェルシー地区を東西に走る
*10 ラファエル前派の代表的芸術家ダンテふイブリエル・ロセッティと、妹のクリスティーナ。兄はこの地区に一八六二年から八二年に没するまで住んだ。
*11 アセンション島は南大西洋の英領の島。オール・ラミは、当時の仏領赤道アフリカの都市で、現在のチャド共和国の首都ンジャメナの旧称。
ブロートもここの借家人（しゃくやにん）のひとりだ。チェルシーエンバンクメントにほど近い場所に位置（いち）するこの館（やかた）は、前世紀（ぜんせいき）にコリドン・スロスプなる、ロセッティ兄妹（きょうだい）とも交流（こうりゅう）のあった男が建（た）てた。スロスプはヘア・スモックを被（かぶ）った姿（すがた）で屋上に上がり、幻覚系（げんかくけい）の植物の世話をするのを好（この）んだ（その伝統（でんとう）は今日、年若い（ねんわかい）オズビーフィールが受けついでいる）。中にはロンドンの霧（きり）と霜（しも）に耐（た）えて生きのこったのもあったとはいえ、屋上の草はおおむね枯れて（かれて）腐り（くさり）、その奇なる（きなる）アルカロイド分子（ぶんし）と共に（ともに）土（つち）にかえった。その土の上に、後をついだ（あとをついだ）住人（じゅうにん）が飼育した（しいくした）折紙つき（おりがみつき）のウェセックスサドルバックの三頭（さんとう）の雌豚（めぶた）の垂（た）れる糞便（ふんべん）と、そのまた後をついだ住人たちが飾り（かざり）に植えた木々（きぎ）の枯葉（かれは）と、あまたの美食家（びしょくか）が食べのこし吐き（はき）もどした名状（めいじょう）しがたき食物が入りまじり、これを歳月（さいげつ）の手がパテのようにこねまわして、厚さ（あつさ）数フィートに及ぶ（およぶ）、信じられないほど黒々（こくこく）とした極上（ごくじょう）の屋上庭園壌土（おくじょうていえんじょうど）ができあがった。この土なら、バナナだって育つ（そだつ）ことは請け（うけ）合いだ。というわけで戦時（せんじ）のバナナ不足（ふそく）に胸（むね）を痛めて（いためて）いたパイレートは、ここにガラスの温室を作ることを思い立った。そしてリオーアセンション-フォール・ラミを廻って（まわって）いる飛行機乗りの友人（ゆうじん）にバナナの若木（わかぎ）を持ち帰ってくるようにせがんだ。次に落下傘部隊（らっかさんぶたい）の出動（しゅつどう）がかかったらドイツ製（せい）のカメラを分捕って（ぶんどって）きてお返し（かえし）すると約束して。
블로트 일당이 머물고 있는 이 저택은 로제티스와 친분이 있는 코리돈 뜨로스프가 19 세기, 첼시 강둑에서 멀지 않은 곳에 지은 것이다. 그는 머리에 그물망을 쓰고 지붕에서 약초키우기를 좋아했는데, (이는 최근에 오스비 필이 부활시킨 전통) 그가 기르던 약초 중 어떤 것은 안개와 서리를 이겨낼 정도로 튼튼했지만, 대부분은, 기이한 알칼로이드의 파편으로 변해, 뜨로스프의 후임자가 기르기 시작한 세마리의 웨섹스 안장등 돼지의 배설물과 나중에 입주한 사람들이 심은 많은 관상수의 낙엽들, 그리고 민감한 위장을 가진 이런저런 향락주의자들이 버리거나 토해낸 소화불가의 음식물들과 함께 모두 섞여져 땅으로 돌아가기 마련이었으며, 이들은 계절이 층층이 칠해놓은 두꺼운 물감층처럼, 30 센티미터 두께의 검은 토양으로 변해서, 거기에선 바나나 뿐 아니라 어떤 것이라도 잘 자라 났다. '해적'은 전쟁시의 바나나 부족사태를 해결 하기 위해, 리오와 어센션, 레이미 요새를 비행하는 친구를 꼬드겨, 자신의 낙하산 임무 중에 혹시 발견하게 되면 독일 카메라를 가져다 준다는 조건으로 두세개의 바나나 묘목을 얻어냈다.
Pirate has become famous for his Banana Breakfast. Messmates throng here from all over England, even some who are allergic or outright hostile to bananas, just to watch—for the politics of bacteria, the soil's stringing of rings and chains in nets only God can tell the meshes of, have seen the fruit thrive often to lengths of a foot and a half, yes amazing but true.
かくしてパイレートは、みずから催す<バナーナ朝食会>で名を馳せる。会食者はイングランド中からやってきた。中に名うてのバナナ嫌いやバナナ・アレルギーの者までいたのは、細菌のポリティックスとかいうものを観察するため。なにしろ、神のみぞ知る環と鎖の複雑な網目状の蔓延が、身の丈1フィート半に及ぶバナーナの実を繁茂させた。驚愕の事実である。
かくしてパイレートは、みずから催す(もようす）<バナーナ朝食会（ちょうしょくかい）>で名を馳せる（はせる）。会食者はイングランド中からやってきた。中に名うてのバナナ嫌（ぎら）いやバナナ・アレルギーの者までいたのは、細菌（さいきん）のポリティックスとかいうものを観察するため。なにしろ、神のみぞ知る環（わ）と鎖（くさり）の複雑（ふくざつ）な網目状（あみめじょう）の蔓延（まんえん）が、身の丈（たけ）1フィート半に及ぶ（およぶ）バナーナの実を繁茂させた（はんもさせた）。驚愕（きょうがく）の事実である。
바나나 아침식사 덕에 '해적'은 유명해 졌다. 영국 전역에서 온 사람들로 식탁은 붐볐고, 심지어 바나나에 알레르기가 있거나 무작정 바나나를 싫어하던 사람들까지 구경삼아 그를 찾아 왔다. 이들은, 흙속을 지배하는 박테리아의 정치적 관계와, 신 만이 구별할 수 있는 고리와 사슬로 흙이 엮어낸 구조를 감상했고, 바나나가 45 센티미터의 길이나 되도록 자라는 것을 보았으니. 그래. 놀랍지만 사실이다.
Pirate in the lavatory stands pissing, without a thought in his head. Then he threads himself into a wool robe he wears inside out so as to keep his cigarette pocket hidden, not that this works too well, and circling the warm bodies of friends makes his way to French windows, slides outside into the cold, groans as it hits the fillings in his teeth, climbs a spiral ladder ringing to the roof garden and stands for a bit, watching the river. The sun is still below the horizon. The day feels like rain, but for now the air is uncommonly clear. The great power station, and the gasworks beyond, stand precisely: crystals grown in morning's beaker, stacks, vents, towers, plumbing, gnarled emissions of steam and smoke. . . .
컴주
V6.9, B6.29, P6.23 climbs a spiral ladder ringing to the roof garden
An allusion perhaps to the opening of Ulysses. James Joyce's novel opens with "stately plump Buck Mulligan" rising a "winding stairs" in his dressing-gown," while Pirate Prentice in his wool robe" has climbed this "spiral ladder" to overlook a landscape and ready himself for break- fast, much as Mulligan does. For more, see McCarron ("Openings").
パイレートは便器の前、からっぽの頭で放尿している。それから腕をくねらせウールのプを着こむ。裏返しに着るのは、ポケットに入れた紙巻煙草を他人に感づかれないためだが、効果のほどは微妙だ。熱気を発する戦友の体の脇を通り、観音開きのガラス戸を開け戸外へ出るなり、ウーと唸る。詰め物の歯に冷気がしみた。螺旋階段を屋上ガーデンまで上り、ひょいと立ち止まってテムズ河を見つめる。太陽はまだ地平線の下だ。きょうも降雨の気配はあるが、街の空気は今のところ珍しく澄んでいて、巨大な発電所も、その向こうのガス工場も鮮明だ。まるで朝のビーカーについた結晶の粒のよう、煙突と通気口と塔と配管と、捻れながら噴き上がる蒸気と煙…
パイレートは便器（べんき）の前、からっぽの頭で放尿（ほうにょう）している。それから腕をくねらせウールのロプを着こむ。裏返し（うらがえし）に着るのは、ポケットに入れた紙巻煙草（かみまきたばこ）を他人に感づかれないためだが、効果（こうか）のほどは微妙（びみょう）だ。熱気（ねっき）を発する（はっする）戦友（せにゅう）の体の脇（わき）を通り、観音開き（かんのんびらき）のガラス戸（と）を開け（あけ）戸外（こがい）へ出るなり、ウーと唸る（うなる）。詰め物の歯に冷気がしみた。螺旋階段（らせんかいだん）を屋上ガーデンまで上（のぼ）り、ひょいと立ち止まってテムズ河を見つめる。太陽はまだ地平線の下（もと）だ。きょうも降雨（こうう）の気配（けはい）はあるが、街の空気は今のところ珍しく（めずらしく）澄んで（すんで）いて、巨大な（きょだいな）発電所（はつでんしょ）も、その向こうのガス工場（こうじょう）も鮮明（せんめい）だ。まるで朝のビーカーについた結晶（けっしょう）の粒（つぶ）のよう、煙突（えんとつ）と通気口（つうきぐち）と塔（とう？）と配管（はいかん）と、捻れ（ねじれ）ながら噴き（ふき）上がる蒸気と煙（けむり）…
'해적'은 화장실에 서서 오줌을 싼다. 아무 생각 없이 텅빈 머리로. 그리고 그는 담배를 감출 수 있으리라는 헛된 생각에 뒤집어 입은 모직 가운에 몸을 엮어 넣고, 따뜻한 친구들의 몸뚱아리들을 빙 둘러 걸어 나온다. 그는 프랑스 풍 창문을 지나, 차가운 공기 속으로 미끄러지듯 나간다. 때운 이빨에 차가운 공기가 닿으면 신음소리가 난다. 나선형 사다리를 타고 지붕위 정원으로 올라 서서 잠시 강을 바라 본다. 태양은 아직 지평선 밑에 머물러 있다. 비가 올 것 같은 날이지만 지금 공기는 기이할 정도로 쾌청하다. 거대한 발전소와 그 너머 정유소들이 선명히 보인다: 굴뚝, 환기구, 탑, 배관, 구불거리며 흘러 나오는 수증기와 연기가 오늘 아침 실험컵에 자라난 결정체들.
"Hhahh," Pirate in a voiceless roar watching his breath slip away over the parapets, "hhaahhh!" Rooftops dance in the morning. His giant bananas cluster, radiant yellow, humid green. His companions below dream drooling of a Banana Breakfast. This well-scrubbed day ought to be no worse than any—
「ハアー」パイレートの声なき咆哮。口から漏れた蒸気が胸壁を抜けていく。「ハァァアーッ！」朝の屋上が踊る。巨大なバナナの房々は輝く黄色、うるおう緑。階下の連中はバナナの朝食の夢を見ながら涎を垂らしているだろう。きょうもまたうららかな一日が何事もなくー
「ハアー」パイレートの声なき咆哮（ほうこう）。口から漏れた（もれた）蒸気が胸壁（きょうへき）を抜けていく。「ハァァアーッ！」朝の屋上が踊る（おどる）。巨大なバナナの房々（ふさふさ）は輝く（かがやく）黄色（きいろ）、うるおう緑。階下（かいか）の連中（れんちゅう）はバナナの朝食（ちょうしょく）の夢を見ながら涎（よだれ）を垂（た）らしているだろう。きょうもまたうららかな一日（ついたち）が何事（なにごと）もなくー
"하..." '해적'은 그의 입김이 성곽너머로 흘러 가는 것을 보며 "하아!", 소리없는 외침. 지붕들은 아침의 춤을 시작한다. 그의 거대한 바나나가 밝은 노란색, 혹은 촉촉한 녹색을 띠고 뭉쳐 있다. 그의 동료들은 아래층에서 바나나 아침식사를 꿈꾸며 침을 흘린다. 매끄럽게 시작한 오늘이 딱히 여느 날만 못할 이유는...
Will it? Far to the east, down in the pink sky, something has just sparked, very brightly. A new star, nothing less noticeable. He leans on the parapet to watch. The brilliant point has already become a short vertical white line. It must be somewhere out over the North Sea . . . at least that far ... icefields below and a cold smear of sun. . . .
컴주
V6.21, B7.1, P6.35 A new star
Here, the burst of illumination from a launched rocket. Soon, though, references to various other kinds of stars will emerge in GR: for example, the stars children put on their calendars during the Advent season; the star over Bethlehem patterns of the zodiac and the (apparently fateful stars on Tyrone Slothrop's map of his sexual conquests throughout London.
いや、それはどうか。遠く東、ピンクの空の下の縁、眩しいほどに煌めくあれは新星か、そのくらい明るい光だ。胸壁にもたれて見つめる、きらめく先端はすでに短い垂直の白線になった。北海を越えたどこかか...そのくらいの距離はある…その下は凍えた光を塗りたくった氷原か...
いや、それはどうか。遠く東（あずま）、ピンクの空の下の縁（えん）、眩しい（まぶしい）ほどに煌めく（きらめく）あれは新星（しんせい）か、そのくらい明るい光だ。胸壁（きょうへき）にもたれて見つめる、きらめく先端（せんたん）はすでに短い垂直（すいちょく）の白線（はくせん）になった。北海（ほっかい）を越（こ）えたどこかか...そのくらいの距離（きょり）はある…その下は凍（こご）えた光を塗（ぬ）りたくった氷原（ひょうげん）か...
과연 그럴까? 동쪽 멀리 핑크빛 하늘 아래, 무언가가 막, 매우 밝은 빛으로 반짝였다. 새로이 생겨난 별. 그 못지 않게 뚜렷하게. 그는 성곽에 기대어 바라 본다. 그 밝은 점은 벌써 짧은 하얀 수직선으로 변했다. 북해 상의 어느 지점이 틀림 없다... 최소한 그 정도 거리... 차갑게 번진 태양빛 아래 얼음평원이 펼쳐져 있는 그 곳....
What is it? Nothing like this ever happens. But Pirate knows it, after all. He has seen it in a film, just in the last fortnight. . . it's a vapor trail. Already a finger's width higher now. But not from an airplane.
컴주
V6.26-27, B7.8, P6.40-41 it's a vapor trail
Pynchon's source for this de tail is the Times of London. V-2 rockets were launched on London from The Hague, 195 miles distant. Nevertheless, from their rooftops and upper windows Londoners might have observed the white starburst of a launch and the vapor trail of a rocket climbing over the North Sea Many of the missiles were launched at dawn, when the low winter sun would brilliantly illuminate their exhaust. For example, a letter in the Times of December 12, 1944 (5, col. 7) describes just such a "bright trace" and subsequent days' editions printed several letters from others who described what Prentice sees on this day
何なのだ、これは。こんなこと、初めてだぞ。だがパイレートは実のところを知っていたらい11週間ほど前、映画を見せられていた...飛行物体のあとに引かれる蒸気の尾いまはもう指1本の幅に広がった - あれは飛行機の雲ではない
何なのだ、これは。こんなこと、初めてだぞ。だがパイレートは実（じつ）のところを知っていたらい二週間ほど前、映画を見せられていた...飛行物体（ひこうぶったい）のあとに引かれる蒸気の尾（お）−いまはもう指1本の幅（はば）に広（ひろ）がった − あれは飛行機の雲ではない
뭐지? 이런 일은 절대로 일어나지 않는 법인데. 그러나 '해적'은 이미 알고 있다. 불과 이주일 전, 영화에서 본 것... 그것은 증기의 궤적이다. 이미 손가락 하나의 두께 만큼이나 상승했다. 비행기의 궤적은 아니다.
Airplanes are not launched vertically. This is the new, and still Most Secret, German rocket bomb.
飛行機雲は垂直には上がらない。こいつは新型の、いまだトップシークレットの、ドイツ軍のロケット爆弾だ。
飛行機雲は垂直（すいちょく）には上がらない。こいつは新型（しんがた）の、いまだトップシークレットの、ドイツ軍のロケット爆弾（ばくだん）だ。
비행기들은 수직으로 발사되지 않기에. 이것은 아직 일급비밀에 속해 있는, 새로운 독일 로켓폭탄.
"Incoming mail." Did he whisper that, or only think it? He tightens the ragged belt of his robe. Well, the range of these things is supposed to be over 200 miles. You can't see a vapor trail 200 miles, now, can you.
컴주
V6.30, B7.12, P7.3 "Incoming mail"
Infantryman's slang for hostile, ar riving ordnance, but see V11.10-11n for an occasion when the metaphor is literally fulfilled and Pirate receives word of a communiqué sent to him by V-2 express
「郵便でーす」とつぶやいたのか、それとも心に思っただけか。彼はローブの、ポロポロになった腰紐を締める。ロケット弾なら飛距離は二〇〇マイル超。二〇〇マイルも先の蒸気の尾が見えるわけがーー
「郵便（ゆうびん）でーす」とつぶやいたのか、それとも心に思っただけか。彼はローブの、ポロポロになった腰紐（こしひも）を締（し）める。ロケット弾（だん）なら飛距離（ひきょり）は二〇〇マイル超（ちょう）。二〇〇マイルも先の蒸気の尾（お）が見えるわけがーー
"우편물 도착." 그렇게 속삭였나? 아니, 그냥 생각만? 가운의 허리띠를 동여 맨다. 자, 이 물건의 유효거리는 200마일이 넘는다고 알려져 있다. 그러나 200마일 밖에서 증기의 궤적을 볼 순 없다. 그렇지?
Oh. Oh, yes: around the curve of the Earth, farther east, the sun over there, just risen over in Holland, is striking the rocket's exhaust, drops and crystals, making them blaze clear across the sea. . . .
컴주
V6.33-35, B7.17-19, P7.7-9 the sun striking the rocket's exhaust making them blaze clear across the sea
A fascinating image: the missile's vapor trail would bend the rays of sunlight into a rainbow, not arch-shaped, as one initially suspects, but perfectly circular. Here is why. Later in part 1 (V100.36), Pynchon notes that the rockets were launched from The Hague on London at a compass bearing of 260 degrees WSW, a detail he found in Kooy and Uytenbogaart Ballistics of the Future 285). In mid-December, when Pirate observes this dawn firing, the sun would be nearing its lowest southern latitudes, approximately over South-West Africa (now Namibia), the topos for many of Pynchon's Herero references. The sun would be ascending at a bearing of about 170 degrees ESE, or perpendicular to the rocket's line of trajectory and form ing, incidentally, a cross in the sky. Now since a rainbow of illuminated light moves in a direction opposite to that of its source-that is, since the rainbow falls as the sun rises-then this imagined rainbow would be high overhead relative to any observer who might be standing one-half to one mile east-southeast of the rocket's airborne vapor trail. Such an imaginary observer would see a circular rainbow and not the arch we normally witness, one-half of which plunges into the earth. Pynchon reminds us of this fact as GR draws to a close: "Of Course It Begins Infinitely Below The Earth and Goes On Infinitely Back Into the Earth (V726.19-20). Note that Pirate's rainbow is imagined: to observe it under these circumstances one would have to be perched high over the North Sea
待てよ、可能だ。東の果て、地球の曲面の皇うど向こうのオランダは、今まさに太陽がのぼったところーーだとすれば、ロケットの噴射する排気、水滴、結晶に朝日が当たって、海のこちらのロンドンでもくっきり見えておかしくない...
待てよ、可能（かのう）だ。東（あずま）の果（は）て、地球（ちきゅう）の曲面（きょくめん）の皇（すめらぎ）うど向こうのオランダは、今まさに太陽がのぼったところーーだとすれば、ロケットの噴射（ふんしゃ）する排気（はいき）、水滴（すいてき）、結晶（けっしょう）に朝日が当たって、海のこちらのロンドンでもくっきり見えておかしくない...
아. 아, 그래. 지구의 곡면을 돌아 저 동쪽 네덜란드의 하늘, 그 위에 막 떠오른 태양빛이 로켓의 배기가스와 물방울과 결정체들에 부딪혀, 그것들을 바다를 가로질러 빛나게 한다....
The white line, abruptly, has stopped its climb. That would be fuel cutoff, end of burning, what's their word . . . Brennschluss. We don't have one. Or else it's classified. The bottom of the line, the original star, has already begun to vanish in red daybreak. But the rocket will be here before Pirate sees the sun rise.
컴주
V6.37, B7.22, P7.11 Brennschluss
Available to Pynchon from a variety of his technical sourcebooks, but most notably Dornberger (9n), who ex plains: "Brennschluss, the 'end of burning, the German word is preferred to the form 'all-burnt, which is used in England, because at Brennschluss considerable quantities of fuel may still be left in the tanks." In the V-2 this stage occurred at an altitude of 112.3 miles
V6.39, B7.24, P7.13-14 But the rocket will be here
In the Bantam "rocket" here is misprinted as "racket." This is the first of many typo graphical errors in the Bantam edition.
空を伸びゆく白線が突然上昇を止めた。ってことは燃料の供給が止まったか…燃焼終わりやつらの言葉でヘブレンシュルツス>と言った、英語にはない単語[*12]あっても機密扱いだ。白線の根元、初めの星が見えたところはもう夜明けの朱に溶けつつある。だがロケットはパイレートが日の出を見る前にやってくるだろう。
空を伸（の）びゆく白線（はくせん）が突然（とつぜん）上昇（じょうしょう）を止めた。ってことは燃料（ねんりょう）の供給（きょうきゅう）が止まったか…燃焼（ねんしょう）終わりやつらの言葉で＜ブレンシュルッス>と言った、英語にはない単語（たんご）あっても機密（きみつ）扱（あつか）いだ。白線の根元（ねもと）、初めの星が見えたところはもう夜明（よあ）けの朱（しゅ）に溶（と）けつつある。だがロケットはパイレートが日の出（ひので）を見る前にやってくるだろう。
일주
*12 Brennschlus -- "英語に直訳すれば、burn closing
흰색의 선은, 갑자기, 상승을 멈췄다. 연료공급중지, 분사의 중지일 것이다. 그 단어가 무엇이더라... 그래, 브렌슐뤼스. 우리에겐 적절한 단어가 없다. 아니면 단어 자체가 기밀사항이던가. 선 아래쪽 끝, 그 시작점의 별은 붉은 일출에 이미 사라져 가기 시작했다. 그러나 로켓은, "해적"이 완전한 일출을 볼 수 있을 때면 이미 여기에 도착해 있을 것이다.
The trail, smudged, slightly torn in two or three directions, hangs in the sky. Already the rocket, gone pure ballistic, has risen higher. But invisible now.
白線がたるみ、二、三本の筋に分かれて空に垂れかかる。ロケットはすでに慣性飛行に入り、不可視のまま上空を上りつづけている。
白線がたるみ、二、三本の筋（すじ）に分かれて空に垂（た）れかかる。ロケットはすでに慣性飛行（かんせいひこう）に入（はい）り、不可視のまま上空（じょうくう）を上（のぼ）りつづけている。
하늘에 떠 있던 궤적은 번지기 시작했고 밑부분은 두세방향으로 조금씩 갈라진다. 이제 로켓은 관성만으로, 눈에 보이는 궤적 그 위로 올라 가 있다. 이젠 보이지 않는다.
Oughtn't he to be doing something . . . get on to the operations room at Stanmore, they must have it on the Channel radars—no: no time, really. Less than five minutes Hague to here (the time it takes to walk down to the teashop on the corner . . . for light from the sun to reach the planet of love ... no time at all). Run out in the street? Warn the others?
컴주
V7.3-4, B7.29-30, P7.18-19 the operations room at Stanmore
Thirteen miles northwest of London, home of the Special Operations Executive.
V7.5, B7.31-32, P7.21 Less than five minutes Hague to here
Dornberger (V-214) gives the flight time as "two-ninety-six seconds.
おい、何か今するべきことはないのか...スタンモアの作戦司令部に連絡するとかきっと彼らの海峡監視レーダーもとらえているーーだめだ、そんな時間はない。ハーグからここまで五分とかからない（角の茶屋まで歩いただけで時間切れだな...太陽を飛び出た光がこの愛の星に届くほどの時間しかかからないんだから...） "通りまで走るか？大声でみんなに危険を知らせるか？
おい、何か今するべきことはないのか...スタンモアの作戦司令部（さくせんしれいぶ）に連絡するとかきっと彼らの海峡監視（かいきょうかんし）レーダーもとらえているーーだめだ、そんな時間はない。ハーグからここまで五分とかからない（角の茶屋（ちゃや）まで歩いただけで時間切（ぎ）れだな...太陽を飛（と）び出た光がこの愛の星に届く（とどく）ほどの時間しかかからないんだから...）。 通り（どうり）まで走るか？大声（おうごえ）でみんなに危険（きけん）を知らせるか？
뭔가 해야 하는 건 아닌지... 스탠모어의 작전실에 연락을 한다던가. 거기선 틀림없이 벌써 해협레이다로 로켓을 발견했겠지 - 아니. 정말, 시간이 없다. 헤이그에서 여기까지는 5분도 안 걸릴터. (코너의 찻집까지 걸어 갈 수 있는 시간, 태양빛이 사랑의 행성에 도착하는데 걸리는 시간... 전혀 시간이 없다). 거리로 달려 나가? 다른 사람들에게 알려야?
한글주
스탠모어 : 런던 북서부에있는 마을로 당시 영국 공군 기지와 방공 풍선 지휘 본부가 위치하고 있었다.
Pick bananas. He trudges through black compost in to the hothouse. He feels he's about to shit. The missile, sixty miles high, must be coming up on the peak of its trajectory by now . . . beginning its fall. . . now. . . .
バナナを摘もう。黒い堆肥を抜けて温室の中へ。彼の下腹でググッと糞が動いた。ミサイルは今ごろ上空六〇マイルで軌道の頂点に達し...落下を始めたか...いまこの瞬間。。。
バナナを摘（つま）もう。黒い堆肥（たいひ）を抜けて温室の中へ。彼の下腹（かふく）でググッと糞（くそ）が動いた。ミサイルは今ごろ上空（じょうくう）六〇マイルで軌道（きどう）の頂点（ちょうてん）に達し（たっし）...落下（らっか）を始めたか...いまこの瞬間（しゅんかん）。。。
바나나를 따지. 그는 검은 토양을 지나 온실로 힘없이 걸어 들어 간다. 똥을 싸 버릴 것 같다. 100킬로미터 위의 미사일은 이제 그 궤적의 꼭대기로 향하고 있겠지... 그리고 나서 하강을 시작할 터... _바로 지금_.
Trusswork is pierced by daylight, milky panes beam beneficently down. How could there be a winter—even this one—gray enough to age this iron that can sing in the wind, or cloud these windows that open into another season, however falsely preserved?
朝の陽が三角構造に組んだ鋼材を貫き、ミルク色した窓硝子が穏やかにほほえむ。どんなに灰色の冬も11今年の冬でさえ11この鋼鉄を老けこませることはできないだろう風が吹けば、そいつは歌う。あれらの窓も、次の季節 - たとえ偽りの、保存された季節であっても11へ向かって開くのだ。かき曇らされたりするものか。
朝の陽（よう）が三角構造（さんかくこうぞう）に組んだ鋼材（こうざい）を貫き（つらぬき）、ミルク色した窓硝子（まどがらす）が穏（おだ）やかにほほえむ。どんなに灰色（はいいろ）の冬もーー今年の冬でさえーーこの鋼鉄（こうてつ）を老（ふ）けこませることはできないだろう。風が吹（ふ）けば、そいつは歌う。あれらの窓も、次の季節（きせつ）ーーたとえ偽（いつわ）りの、保存（ほぞん）された季節であってもーーへ向かって開（ひか）くのだ。かき曇（くも）らされたりするものか。
철재 구조 사이로 햇빛이 비추면 우유빛 창은 그 빛을 자애롭게 내려 비춘다. 바람 속에서 노래하는 이 철들을 녹슬게 할 만한 겨울이 있을까? 그것이 설령 어떤 거짓으로 보존된 것이라 해도 그 속에서 겨울을 이겨 내고 다른 계절을 향해 가슴을 연 이 창들을 흐릴 수 있는 회색빛의 겨울이 정말 있을까? 이번 겨울도 그정도는 아니다.
Pirate looks at his watch. Nothing registers. The pores of his face are prickling. Emptying his mind—a Commando trick—he steps into the wet heat of his bananery, sets about picking the ripest and the best, holding up the skirt of his robe to drop them in. Allowing himself to count only bananas, moving barelegged among the pendulous bunches, among these yellow chandeliers, this tropical twilight. . . .
パイレートは腕時計に目をやるが、何も頭に入らない。顔面の毛穴がチクチクする。心の中をカラッポにするのもコマンド隊員の技のひとつ、そのままバナナ園の湿った暖気の中ヘソロリと入る。熟れたバナナをもいでは、たくし上げたローブの裾に乗せる。バナナの数を数えるだけ、それ以外は考えない、トロピカルな薄光のなか、ぶらぶら揺れる黄色いシャンデリアの間を、脛毛の脚を出して進む...
パイレートは腕時計に目をやるが、何も頭に入らない。顔面（がんめん）の毛穴（けあな）がチクチクする。心の中をカラッポにするのもコマンド隊員（たいいん）の技（わざ）のひとつ、そのままバナナ園（えん）の湿った（しめった）暖気（だんき）の中ヘソロリと入る。熟れたバナナをもいでは、たくし上げたローブの裾に（すそに）乗せる。バナナの数を数えるだけ、それ以外は考えない、トロピカルな薄光のなか、ぶらぶら揺れる（ゆれる）黄色いシャンデリアの間（ま）を、脛毛（すねげ）の脚を出して進む...
'해적'은 시계를 본다. 아무 생각도 없이. 얼굴의 땀구멍들이 따끔거린다. 마음을 깨끗이 비우고 - 특수부대에서 터득한 기술 중 하나 - 바나나 정원의 축축한 열기 속으로 들어가 가장 잘 익은 최상급 바나나들을 그의 가운 자락에 따 담기 시작한다. 오직 바나나를 세는 작업에만 집중하며. 흔들거리는 다발 속, 이 노란 샹들리에, 이 열대의 여명속에서 맨발로 움직인다....
Out into the winter again. The contrail is gone entirely from the sky. Pirate's sweat lies on his skin almost as cold as ice.
ふたたび冬の冷気の中へ。東の空をまっすぐ上った雲は消えた。肌に乗った汗の玉が氷ように冷たい。
ふたたび冬の冷気の中へ。東の空をまっすぐ上った雲は消えた。肌（はだ）に乗った汗（あせ）の玉が氷のように冷たい。
다시 바깥의 겨울로 나서면, 궤적은 하늘에서 완전히 사라졌다. '해적'의 피부엔 얼음처럼 차가운 땀방울들이 남아 있다.
He takes some time lighting a cigarette. He won't hear the thing come in. It travels faster than the speed of sound. The first news you get of it is the blast. Then, if you're still around, you hear the sound of it coming in.
煙草にやっと火がついた。そいつが落ちてくるのは聞こえないんだ。音速より速いんだから。最初の報せが爆発で、それを運良く生きのびられたら落下音が聞こえてくる。
煙草にやっと火がついた。そいつが落ちてくるのは聞（き）こえないんだ。音速より速いんだから。最初（さいしょ）の報（しら）せが爆発（ばくはつ）で、それを運良く（うんよく？）生（い）きのびられたら落下音が聞こえてくる。
그는 꾸물거리며 담뱃불을 붙인다. 떨어지는 소리는 들리지 않을 것이다. 음속보다 빠르게 움직이므로. 도착 소식은 먼저 폭발로 전해진다. 그러고도 만약에 당신이 살아 있다면, 그 때서야 날아오는 소리가 들린다.
What if it should hit exactly—ahh, no—for a split second you'd have to feel the very point, with the terrible mass above, strike the top of the skull. . . .
そいつに脳天のど真ん中を直撃されたらどうなる。アアア・ノー！一瞬、ロケットの突端を感じるのか。とてつもない重量で頭蓋骨にめりこむのを…
そいつに脳天（のうてん）のど真ん中（まんなか）を直撃（ちょくげき）されたらどうなる。アアア・ノー！一瞬、ロケットの突端（とったん）を感じるのか。とてつもない重量（じゅうりょう）で頭蓋骨（ずがいごつ）にめりこむのを…
만약 _정통으로_ 머리 위에 떨어진다면 - 아, 안돼 - 엄청난 무게의 덩치를 실은 로켓의 그 꼭지점이 두개골의 꼭대기에 부딪히는 한 순간의 느낌이 있을 것이다.
Pirate hunches his shoulders, bearing his bananas down the corkscrew ladder.
パイレートは肩を丸め、バナナを携えて螺旋階段を下りていく。
パイレートは肩（かた）を丸（まる）め、バナナを携（たずさ）えて螺旋（らせん）階段を下りていく。
'해적'은 어깨를 웅크린채 바나나를 안고 나선형 사다리를 내려 온다.
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