Tracy Chevalier: Finding the story inside the painting

264,168 views ・ 2012-07-25

TED


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

00:00
Translator: Thu-Huong Ha Reviewer: Youna Jung
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λ²ˆμ—­: Yeon Choi κ²€ν† : Gemma Lee
00:15
I'm going to tell you about an affliction I suffer from.
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μ €λ₯Ό νž˜λ“€κ²Œ ν•˜λŠ” 일에 λŒ€ν•΄ λ§ν•˜κ³ μž ν•©λ‹ˆλ‹€.
00:19
And I have a funny feeling that quite a few of you
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왠지 λͺ¨λ₯΄κ²Œ μ—¬λŸ¬λΆ„λ“€ 쀑 일뢀도 저와 λΉ„μŠ·ν•œ 증상을
00:22
suffer from it as well.
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κ²ͺμ—ˆμœΌλ¦¬λΌλŠ” 생각이 λ“œλ„€μš”.
00:24
When I'm walking around an art gallery,
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λ―Έμˆ κ΄€μ„ λŒμ•„λ‹€λ‹ λ•Œ,
00:26
rooms and rooms full of paintings,
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μˆ˜λ§Žμ€ μž‘ν’ˆμ΄ κ±Έλ €μžˆλŠ” 방듀을
00:28
after about 15 or 20 minutes,
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ν•œ 15λΆ„, 20λΆ„ 정도 λŒμ•„λ³΄κ³  λ‚˜λ©΄
00:33
I realize I'm not thinking about the paintings.
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μž‘ν’ˆμ— λŒ€ν•΄ μƒκ°ν•˜κ³  μžˆμ§€ μ•ŠλŠ”λ‹€λŠ” κ±Έ κΉ¨λ‹¬μ•„μš”.
00:34
I'm not connecting to them.
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λ‚˜λ₯Ό μž‘ν’ˆκ³Ό μ—°κ΄€μ§€μœΌλ € ν•˜μ§€ μ•Šκ³ 
00:36
Instead, I'm thinking about that cup of coffee
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κ·Έ λŒ€μ‹ , 컀피 ν•œμž”μ„ λ§ˆμ…”λƒκ² λ‹€κ±°λ‚˜
00:39
I desperately need to wake me up.
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μ‘ΈμŒμ„ μ«“μ•„μ•Όκ² λ‹€λŠ” μ ˆλ°•ν•œ 생각이 λ“€μ£ .
00:42
I'm suffering from gallery fatigue.
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가러리 ν”Όλ‘œ 증상을 κ²ͺκ³  있기 λ•Œλ¬Έμž…λ‹ˆλ‹€.
00:45
How many of you out there suffer from --
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ν˜Ήμ‹œ 저와 같은 증상을 κ²ͺλŠ” λΆ„λ“€-
00:47
yes. Ha ha, ha ha!
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λ„€, λ„€, 많이 κ³„μ‹œλ„€μš”!
00:49
Now, sometimes you might last longer
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λ¬Όλ‘  이런 증상을 20λΆ„ λ„˜κ²Œ κ²ͺλŠ” 뢄도 κ³„μ‹œκ³ ,
00:51
than 20 minutes, or even shorter,
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ν˜Ήμ€ 그보닀 짧게 κ²ͺ을 μˆ˜λ„ μžˆμ§€λ§Œ,
00:53
but I think we all suffer from it. And do you have
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μ–΄μ¨Œλ“  우리 λͺ¨λ‘κ°€ 이런 증상을 κ²ͺλŠ”λ‹€λŠ” κ±°μ£ .
00:56
the accompanying guilt?
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이에 λ”°λ₯Έ 죄책감도 λŠλΌκ³ μš”.
00:58
For me, I look at the paintings on the wall
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μ „ 벽에 κ±Έλ¦° 그림듀을 보고 이런 생각을 ν•œλ‹΅λ‹ˆλ‹€.
01:01
and I think, somebody has decided to put them there,
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λˆ„κ΅°κ°€λŠ” μ € 그림을 벽에 κ±Έ κ°€μΉ˜κ°€ μžˆλ‹€κ³ 
01:04
thinks they're good enough to be on that wall,
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μƒκ°ν•΄μ„œ κ±Έμ–΄ λ†“μ•˜λ‚˜λ³Έλ°,
01:06
but I don't always see it.
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μ œκ°€ 늘 κ·Έλ ‡κ²Œ μƒκ°ν•˜λŠ” 것은 μ•„λ‹ˆλΌλŠ”κ±°μ£ 
01:08
In fact, most of the time I don't see it.
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μ†”μ§νžˆ λŒ€λΆ€λΆ„μ€ κ·Έλ ‡κ²Œ 보지 μ•Šμ•„μš”.
01:10
And I leave feeling actually unhappy.
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그러고 λ‚˜λ©΄ λ­”κ°€ 기뢄이 찝찝해지죠.
01:14
I feel guilty and unhappy with myself,
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μŠ€μŠ€λ‘œμ—κ²Œ 왠지 λͺ¨λ₯Ό 죄책감도 λŠλΌκ΅¬μš”.
01:17
rather than thinking there's something wrong with the painting,
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그림이 μ΄μƒν•˜λ‹€λŠ” 생각은 ν•˜μ§€ μ•Šκ³ 
01:19
I think there's something wrong with me.
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λ‚΄κ°€ μ΄μƒν•˜λ‹€λŠ” 생각이 λ“œλŠ” κ±°μ˜ˆμš”.
01:21
And that's not a good experience, to leave a gallery like that.
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그런 마음으둜 가러리λ₯Ό λ‚˜μ„œλŠ” 게 기뢄쒋은 κ²½ν—˜μ€ μ•„λ‹ˆμ£ .
01:24
(Laughter)
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(μ›ƒμŒ)
01:25
The thing is, I think we should give ourselves a break.
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μš°λ¦¬κ°€ 쒀더 νŽΈν•˜κ²Œ λ‘˜λŸ¬λ³΄μ•˜μœΌλ©΄ μ’‹κ² μ–΄μš”.
01:27
If you think about going into a restaurant,
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μŒμ‹μ μ— μ™”λ‹€κ³  μƒκ°ν•΄λ³΄μ„Έμš”.
01:30
when you look at the menu, are you expected to order
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λ©”λ‰΄νŒμ„ 보고, 거기에 μžˆλŠ” μŒμ‹μ„ λͺ¨λ‘ λ‹€
01:34
every single thing on the menu?
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μ£Όλ¬Έν•˜λ € ν•˜λ‚˜μš”?
01:36
No! You select.
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μ•„λ‹ˆμ£ ! κ·Έ μ€‘μ—μ„œ κ³ λ₯΄λŠ” κ±°μ£ .
01:38
If you go into a department store to buy a shirt,
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μ…”μΈ  ν•œμž₯ 사렀고 백화점에 κ°€μ„œλŠ”
01:41
are you going to try on every single shirt
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λͺ¨λ“  μ…”μΈ λ₯Ό 일일이 μž…μ–΄λ³΄κ³ 
01:44
and want every single shirt?
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μ…”μΈ λ₯Ό λ‹€ κ°–κ³  μ‹Άμ–΄ν•˜λ‚˜μš”?
01:45
Of course not, you can be selective. It's expected.
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λ¬Όλ‘  μ•„λ‹ˆμ£ , 선택해야죠. 그게 μ •μƒμ΄κ³ μš”.
01:49
How come, then, it's not so expected
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그럼, μ™œ λ―Έμˆ κ΄€μ—μ„œλŠ” 이런 선택이
01:52
to be selective when we go to an art gallery?
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μ΄μƒν•˜κ²Œ λŠκ»΄μ§€λŠ” κ±ΈκΉŒμš”?
01:54
Why are we supposed to have a connection with every single painting?
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μš°λ¦¬λŠ” μ™œ κ·Έλ¦Ό ν•˜λ‚˜ν•˜λ‚˜μ— 의미λ₯Ό λΆ€μ—¬ν•΄μ•Ό ν•˜λŠ” κ±ΈκΉŒμš”?
01:58
Well I'm trying to take a different approach.
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μ „ μ’€ λ‹€λ₯Έ 접근을 ν•΄λ΄…λ‹ˆλ‹€.
02:00
And there's two things I do:
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두 가지 μ‹œλ„λ₯Ό ν•˜λŠ”λ°μš”.
02:02
When I go into a gallery, first of all, I go quite fast,
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λ―Έμˆ κ΄€μ— κ°€λ©΄, μ €λŠ” λ¨Όμ € λͺ¨λ“  μž‘ν’ˆμ„
02:07
and I look at everything, and I pinpoint the ones
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재빨리 λ‘˜λŸ¬λ³Έ λ‹€μŒ, 왠지 λͺ¨λ₯΄κ²Œ μ΄λŒλ¦¬λŠ”
02:11
that make me slow down for some reason or other.
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μž‘ν’ˆ λͺ‡μ μ„ μ„ μ •ν•©λ‹ˆλ‹€.
02:14
I don't even know why they make me slow down, but something
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μ™œ μ΄λŒλ¦¬λŠ” μ§€λŠ” λͺ¨λ₯΄μ§€λ§Œ, κ·Έλƒ₯ μžμ„μ²˜λŸΌ
02:17
pulls me like a magnet
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μ €λ₯Ό μž‘μ•„λ‹ΉκΈ°λŠ” μž‘ν’ˆ 말이죠.
02:19
and then I ignore all the others, and I just go to that painting.
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λ‹€λ₯Έ μž‘ν’ˆλ“€μ€ λ‹€ 잊고, κ·Έ 그림이 μžˆλŠ” 곳으둜 κ°‘λ‹ˆλ‹€.
02:22
So it's the first thing I do is, I do my own curation.
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μ œκ°€ 맨 λ¨Όμ € ν•˜λŠ” 일은, μ €λ§Œμ˜ νλ ˆμ΄μ…˜μ„ ν•˜λŠ” κ±°μ˜ˆμš”.
02:24
I choose a painting. It might just be one painting in 50.
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κ·Έλ¦Ό ν•˜λ‚˜λ₯Ό 골랐죠. κ·Έμ € 50개의 μž‘ν’ˆ 쀑 ν•˜λ‚˜μΌ 지도 λͺ¨λ₯΄μ£ .
02:28
And then the second thing I do is I stand in front of that painting,
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그리고 λ‚˜μ„œ, λ‘λ²ˆμ§Έλ‘œ ν•˜λŠ” 일은, κ·Έ κ·Έλ¦Ό μ•žμ— μ„œμ„œ
02:31
and I tell myself a story about it.
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μ €λ§Œμ˜ 이야기λ₯Ό λ§Œλ“€μ–΄λƒ…λ‹ˆλ‹€. .
02:34
Why a story? Well, I think that we are wired,
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μ™œ μ΄μ•ΌκΈ°λƒκ³ μš”? κΈ€μŽ„μš”. μ΄μƒν•˜κ²Œλ„
02:38
our DNA tells us to tell stories.
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이야기λ₯Ό λ§Œλ“€μ–΄ λ‚΄λŠ” 건 우리의 DNA라고 μƒκ°ν•©λ‹ˆλ‹€.
02:42
We tell stories all the time about everything,
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μš°λ¦¬λŠ” λͺ¨λ“  일에 λŒ€ν•΄μ„œ 이야기λ₯Ό λ§Œλ“€μ£ .
02:44
and I think we do it because the world is kind of a crazy, chaotic place,
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μ•„λ§ˆλ„ 그건, 이 세상이 ν•˜λ„ λ³΅μž‘ν•˜κ³  μ •μ‹  μ—†κΈ° λ•Œλ¬Έμ—
02:49
and sometimes stories, we're trying to make sense of the world a little bit,
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그런 세상을 μ‘°κΈˆμ΄λ‚˜λ§ˆ μ΄ν•΄ν•˜κΈ° μœ„ν•΄μ„œ,
02:53
trying to bring some order to it.
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이야기λ₯Ό μ§“λŠ”κ²Œ μ•„λ‹κΉŒμš”.
02:55
Why not apply that to our looking at paintings?
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이걸 미술 μž‘ν’ˆ 감상에 μ μš©ν•˜λŠ” 건 μ–΄λ–¨κΉŒμš”?
02:59
So I now have this sort of restaurant menu
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κ·Έλž˜μ„œ, μŒμ‹μ μ—μ„œ 메뉴 보듯이
03:03
visiting of art galleries.
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미술 μž‘ν’ˆμ„ κ°μƒν•˜λŠ” κ±°μ£ .
03:06
There are three paintings I'm going to show you now
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μ§€κΈˆ μ—¬λŸ¬λΆ„κ»˜ 3개의 μž‘ν’ˆμ„ λ³΄μ—¬λ“œλ¦¬κ² μŠ΅λ‹ˆλ‹€.
03:10
that are paintings that made me stop in my tracks
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μ €λ₯Ό λ©ˆμΆ”κ²Œ ν•œ μž‘ν’ˆλ“€,
03:13
and want to tell stories about them.
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제게 이야기λ₯Ό μ§“κ²Œ ν•œ μž‘ν’ˆλ“€μ΄μ£ .
03:15
The first one needs little introduction --
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첫 μž‘ν’ˆμ€ μ’€ μ΅μˆ™ν•˜μ‹€ ν…λ°μš”.
03:19
"Girl with a Pearl Earring" by Johannes Vermeer,
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17μ„ΈκΈ° λ„€λœλž€λ“œμ˜ ν™”κ°€ μš”ν•˜λ„€μŠ€ λ² λ₯΄λ©”λ₯΄μ˜
03:22
17th-century Dutch painter.
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"진주 귀걸이λ₯Ό ν•œ μ†Œλ…€" λΌλŠ” μž‘ν’ˆμž…λ‹ˆλ‹€.
03:24
This is the most glorious painting.
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λˆˆλΆ€μ‹œκ²Œ μ•„λ¦„λ‹€μš΄ μž‘ν’ˆμ΄μ£ .
03:26
I first saw it when I was 19,
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μ œκ°€ 19살일 λ•Œ 처음 λ³΄μ•˜λŠ”λ°,
03:29
and I immediately went out and got a poster of it,
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보자마자 λ‚˜κ°€μ„œ 이 μž‘ν’ˆμ˜ ν¬μŠ€ν„°λ₯Ό μƒ€μ–΄μš”.
03:31
and in fact I still have that poster. 30 years later it's hanging in my house.
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30년이 흐λ₯Έ μ§€κΈˆκΉŒμ§€ 아직도 집에 κ±Έλ € μžˆλ‹΅λ‹ˆλ‹€.
03:35
It's accompanied me everywhere I've gone,
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μ €λŠ” 이걸 κ°€λŠ” κ³³λ§ˆλ‹€ 가지고 λ‹€λ…”μ–΄μš”.
03:38
I never tire of looking at her.
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ν•œλ²ˆλ„ 질린 적이 μ—†λŠ” μž‘ν’ˆμ΄μ˜ˆμš”.
03:40
What made me stop in my tracks about her to begin with
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이 μž‘ν’ˆμ˜ μ†Œλ…€κ°€ μ €λ₯Ό λΆ™μž‘μ„ 수 μžˆμ—ˆλ˜ 첫 번째 νŠΉμ§•μ€
03:44
was just the gorgeous colors he uses
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ν™”κ°€κ°€ μ“΄ ν™”λ €ν•œ 색깔과
03:47
and the light falling on her face.
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μ†Œλ…€ 얼꡴에 λΉ„μΆ°μ§€λŠ” λΉ›μ΄μ—μš”.
03:49
But I think what's kept me still coming back
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ν•˜μ§€λ§Œ μ—¬λŸ¬ ν•΄κ°€ μ§€λ‚˜λ„λ‘ μ œκ°€ 이 μž‘ν’ˆμ—
03:52
year after year is another thing, and that is
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관심을 κ°€μ§€λŠ” μ΄μœ λŠ”
03:55
the look on her face, the conflicted look on her face.
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μ†Œλ…€ 얼꡴에 λ“œλ¦¬μ›Œμ§„ κ°ˆλ“±μ„ κ²ͺλŠ” ν‘œμ •μž…λ‹ˆλ‹€.
03:58
I can't tell if she's happy or sad,
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기쁨인지 μŠ¬ν””μΈμ§€ μ•Œ 수 μ—†λŠ” ν‘œμ •μ΄μ£ .
04:01
and I change my mind all the time.
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가끔은 기뻐 보이기도 ν•˜κ³  가끔은 슬퍼 λ³΄μ˜€μ–΄μš”.
04:04
So that keeps me coming back.
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κ·Έλž˜μ„œ 자꾸만 λ‹€μ‹œ μ›μ μœΌλ‘œ λŒμ•„μ™”μ£ .
04:07
One day, 16 years after I had this poster on my wall,
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ν¬μŠ€ν„°λ₯Ό 벽에 건지 16λ…„λ§Œμ—,
04:11
I lay in bed and looked at her,
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μΉ¨λŒ€μ— λˆ„μš΄ 채 μ†Œλ…€λ₯Ό 바라보며
04:14
and I suddenly thought, I wonder what
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이런 생각을 ν–ˆμ–΄μš”. λ² λ₯΄λ©”λ₯΄λŠ” μ–΄λ–»κ²Œ
04:17
the painter did to her to make her look like that.
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μ†Œλ…€μ—κ²Œ 이런 감정을 λΆˆμ–΄λ„£μ„ 수 μžˆμ—ˆμ„κΉŒ?
04:20
And it was the first time I'd ever thought that
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κ·Έ μˆœκ°„ 처음으둜, μ†Œλ…€μ˜ ν‘œμ •μ€
04:23
the expression on her face is actually reflecting
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μ†Œλ…€κ°€ λ² λ₯΄λ©”λ₯΄μ— λŒ€ν•΄ λŠλΌλŠ” 감정을
04:26
how she feels about him.
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λ‚˜νƒ€λ‚΄λŠ” κ±Έ μˆ˜λ„ μžˆκ² λ‹€λŠ” 생각을 ν–ˆμ–΄μš”.
04:28
Always before I'd thought of it as a portrait of a girl.
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μ „μ—λŠ” 늘 μ†Œλ…€μ˜ μ΄ˆμƒν™”λΌκ³ λ§Œ μƒκ°ν–ˆμ—ˆλŠ”λ°,
04:32
Now I began to think of it as a portrait of a relationship.
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μ§€κΈˆμ€ μ†Œλ…€μ™€ ν™”κ°€μ˜ 관계λ₯Ό κ·Έλ¦° 거라고 μƒκ°ν•˜κΈ° μ‹œμž‘ν–ˆμŠ΅λ‹ˆλ‹€.
04:36
And I thought, well, what is that relationship?
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그리고, 'μ–΄λ–€ κ΄€κ³„μΌκΉŒ?' λΌλŠ” 생각을 ν–ˆμ£ .
04:39
So I went to find out. I did some research and discovered,
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κ·Έ 관계λ₯Ό μ°Ύμ•„λ‚΄κ² λ‹€κ³  마음 먹은 μ €λŠ” 자료 μˆ˜μ§‘ 끝에,
04:42
we have no idea who she is.
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이 μ†Œλ…€κ°€ λˆ„κ΅¬μΈμ§€ 아무도 λͺ¨λ₯Έλ‹€λŠ” κ±Έ μ•Œμ•„λƒˆμ–΄μš”.
04:45
In fact, we don't know who any of the models
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사싀, λ² λ₯΄λ©”λ₯΄μ˜ 인물화 λͺ¨λΈ 쀑 λˆ„κ΅¬λ„
04:47
in any of Vermeer's paintings are,
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λ² λ₯΄λ©”λ₯΄μ˜ 그림에 λŒ€ν•΄μ„œ 신원이 λ°ν˜€μ§„ μ‚¬λžŒμ΄ μ—†μ£ .
04:49
and we know very little about Vermeer himself.
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λ² λ₯΄λ©”λ₯΄μ— λŒ€ν•΄μ„œλ„ μ•Œλ €μ§„κ²Œ 쑰금 밖에 μ—†μ–΄μš”.
04:51
Which made me go, "Yippee!"
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그것은 μ €λ₯Ό μ‹ λ‚˜κ²Œ λ§Œλ“€μ—ˆμ–΄μš”.
04:54
I can do whatever I want, I can come up with whatever story I want to.
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λ‚΄ λ§˜λŒ€λ‘œ 이야기λ₯Ό 마음껏 지어낼 수 μžˆμ„ ν…Œλ‹ˆκΉŒμš”.
04:59
So here's how I came up with the story.
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자, μ œκ°€ 이야기λ₯Ό μ§“κ²Œ 된 과정을 μ„€λͺ…ν• κ²Œμš”.
05:02
First of all, I thought,
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λ¨Όμ €, μ†Œλ…€κ°€
05:03
I've got to get her into the house.
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λ² λ₯΄λ©”λ₯΄μ˜ 집에 μžˆμ„ ꡬ싀을 λ§Œλ“€μ—ˆμ–΄μš”.
05:05
How does Vermeer know her?
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λ² λ₯΄λ©”λ₯΄κ°€ μ†Œλ…€λ₯Ό μ–΄λ–»κ²Œ μ•„λŠ” κ±ΈκΉŒμš”?
05:08
Well, there've been suggestions that
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μ†Œλ…€κ°€ λ² λ₯΄λ©”λ₯΄μ˜ 12μ‚΄ 짜리 λ”Έμ΄λΌλŠ”
05:10
she is his 12-year-old daughter.
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의견이 많이 있긴 ν–ˆμ–΄μš”.
05:14
The daughter at the time was 12 when he painted the painting.
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λ² λ₯΄λ©”λ₯΄κ°€ 이 그림을 그릴 λ•Œ 12μ‚΄ 짜리 딸이 μžˆμ—ˆκ±°λ“ μš”.
05:16
And I thought, no, it's a very intimate look,
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ν•˜μ§€λ§Œ 제 생각은 λ‹¬λžμ–΄μš”. μ•„μ£Ό κ°€κΉŒμš΄ 관계일 것 κ°™κΈ΄ ν•˜λ‚˜
05:19
but it's not a look a daughter gives her father.
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딸이 μ•„λΉ λ₯Ό λ°”λΌλ³΄λŠ” ν‘œμ •μ€ 저렇지 μ•Šκ±°λ“ μš”.
05:21
For one thing, in Dutch painting of the time,
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μ™œλƒν•˜λ©΄, μ € λ‹Ήμ‹œ λ„€λœλž€λ“œμ˜ κ·Έλ¦Όμ—μ„œλŠ”
05:23
if a woman's mouth was open, it was indicating sexual availability.
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여인이 μž…μ„ 벌리고 있으면 성관계λ₯Ό λ‚˜νƒ€λ‚΄μ£ .
05:26
It would have been inappropriate for Vermeer
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λ² λ₯΄λ©”λ₯΄κ°€ 딸을 그런 μ‹μœΌλ‘œ κ·Έλ¦°λ‹€λ©΄
05:28
to paint his daughter like that.
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λΆ€μ μ ˆν•˜κ² μ£ .
05:30
So it's not his daughter, but it's somebody
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λ”°λΌμ„œ μ†Œλ…€λŠ” λ² λ₯΄λ©”λ₯΄μ˜ 딸이 μ•„λ‹™λ‹ˆλ‹€.
05:32
close to him, physically close to him.
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ν•˜μ§€λ§Œ λ² λ₯΄λ©”λ₯΄μ™€ 물리적으둜 κ°€κΉŒμš΄ μ‚¬λžŒμ΄μ£ .
05:34
Well, who else would be in the house?
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그럼 λ”Έ 말고도 집에 λˆ„κ°€ μ‚΄κ³  μžˆμ—ˆμ„κΉŒμš”?
05:37
A servant, a lovely servant.
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ν•˜λ…€, μ‚¬λž‘μŠ€λŸ¬μš΄ ν•˜λ…€κ°€ μ‚΄κ³  μžˆμ—ˆκ² μ£ .
05:40
So, she's in the house.
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자, μ†Œλ…€λŠ” μ§‘μ•ˆμ— μžˆμ–΄μš”.
05:42
How do we get her into the studio?
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μ–΄λ–»κ²Œ ν•˜λ©΄ λ² λ₯΄λ©”λ₯΄μ˜ μž‘μ—…μ‹€μ— μ†Œλ…€λ₯Ό λ“€μΌκΉŒμš”?
05:44
We don't know very much about Vermeer,
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λ² λ₯΄λ©”λ₯΄μ— λŒ€ν•œ μ •λ³΄λŠ” λ§Žμ§€ μ•Šμ§€λ§Œ
05:46
but the little bits that we do know, one thing we know
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μš°λ¦¬κ°€ μ•„λŠ” λͺ‡ 가지λ₯Ό λͺ¨μ•„보면,
05:49
is that he married a Catholic woman, they lived with her mother
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천주ꡐ μ—¬μ„±κ³Ό κ²°ν˜Όν•΄ μž₯λͺ¨λ‹˜κ³Ό ν•¨κ»˜ μ‚΄μ•˜κ³ ,
05:52
in a house where he had his own room
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개인 μž‘μ—…μ‹€μ΄ λ”°λ‘œ μžˆλŠ” μ§‘μ—μ„œ μ‚΄μ•˜κ³ 
05:54
where he -- his studio. He also had 11 children.
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μžλ…€κ°€ 11λͺ…μ΄μ—ˆλ‹€λŠ” 사싀은 μ•Œλ €μ Έ μžˆμ–΄μš”.
05:58
It would have been a chaotic, noisy household.
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μ§‘μ•ˆμ΄ ν˜Όλž€μŠ€λŸ½κ³  μ‹œλ„λŸ¬μ› κ² μ£ .
06:01
And if you've seen Vermeer's paintings before,
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근데 λ² λ₯΄λ©”λ₯΄μ˜ 그림듀을 보면
06:04
you know that they're incredibly calm and quiet.
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믿을 수 없을 만큼 κ³ μš”ν•˜κ³  μ°¨λΆ„ν•˜λ‹΅λ‹ˆλ‹€.
06:08
How does a painter paint such calm, quiet paintings with 11 kids around?
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11λͺ…μ˜ 아이듀이 λŒμ•„λ‹€λ‹ˆλŠ” μ§‘μ—μ„œ μ–΄λ–»κ²Œ μ €λ ‡κ²Œ μ°¨λΆ„ν•œ 그림듀을 그릴 수 μžˆμ—ˆμ„κΉŒμš”?
06:12
Well, he compartmentalizes his life.
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μžμ‹ μ„ μ² μ €νžˆ κ²©λ¦¬μ‹œμΌ°κΈ° λ•Œλ¬Έμ΄μ£ .
06:14
He gets to his studio, and he says, "Nobody comes in here.
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μž‘μ—…μ‹€μ— λ“€μ–΄κ°€λ©΄μ„œ μ΄λ ‡κ²Œ λ§ν–ˆκ² μ¬¬. "μ—¬κΈ΄ 아무도 λͺ» 듀어와."
06:18
Not the wife, not the kids. Okay, the maid can come in and clean."
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아내도, 아이듀도. 뭐, ν•˜λ…€λŠ” μ²­μ†Œν•΄μ•Ό ν•˜λ‹ˆκΉŒ λ“€μ—¬λ³΄λ‚΄μž."
06:23
She's in the studio. He's got her in the studio, they're together.
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μ†Œλ…€κ°€ μž‘μ—…μ‹€μ— λ“€μ–΄μ˜΅λ‹ˆλ‹€. λ‘˜μ΄ μž‘μ—…μ‹€μ— 같이 μžˆλŠ” μƒνƒœμ£ .
06:30
And he decides to paint her.
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λ² λ₯΄λ©”λ₯΄λŠ” μ†Œλ…€λ₯Ό 그리기둜 ν•©λ‹ˆλ‹€.
06:32
He has her wear very plain clothes.
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μ†Œλ…€μ—κ²Œ μ•„μ£Ό μˆ˜μˆ˜ν•œ μ˜·μ„ μž…νž™λ‹ˆλ‹€.
06:34
Now, all of the women, or most of the women in Vermeer's other paintings
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λ² λ₯΄λ©”λ₯΄μ˜ λ‹€λ₯Έ 그림에 λ‚˜μ˜€λŠ” λŒ€λΆ€λΆ„μ˜ 여성듀은
06:37
wore velvet, silk, fur, very sumptuous materials.
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벨벳, 비단, ν„Έ 같이 μ‚¬μΉ˜μŠ€λŸ¬μš΄ μ˜·μ„ μž…κ³  μžˆμ–΄μš”.
06:43
This is very plain; the only thing that isn't plain
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근데 μ†Œλ…€μ˜ μ˜·μ°¨λ¦Όμ€ ꡉμž₯히 ν‰λ²”ν•˜μ£ .
06:46
is her pearl earring.
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ν‰λ²”ν•˜μ§€ μ•Šμ€ 것은 μ§„μ£Όκ·€κ±Έμ΄μž…λ‹ˆλ‹€.
06:48
Now, if she's a servant, there is no way she could afford
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μ†Œλ…€λŠ” ν•˜λ…€λΌκ³  ν–ˆλŠ”λ°, μ–΄λ–»κ²Œ 진주 귀걸이λ₯Ό
06:51
a pair of pearl earrings.
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μ‚΄ 수 μžˆκ² μ–΄μš”.
06:54
So those are not her pearl earrings. Whose are they?
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μ†Œλ…€μ˜ 진주 귀걸이가 μ•„λ‹ˆμ£ . 그럼 λˆ„κ΅¬μ˜ 귀걸이죠?
06:57
We happen to know, there's a list of Catharina, the wife's clothes.
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μš°μ—°νžˆ κ·Έ 의 뢀인 μΉ΄νƒ€λ¦¬λ‚˜κ°€ 가진 옷 λͺ©λ‘μ΄ λ°ν˜€μ‘ŒλŠ”λ°μš”.
07:02
Amongst them a yellow coat with white fur,
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κ·Έ μ€‘μ—λŠ” ν•˜μ–€ 털이 달린 λ…Έλž€ 색 μ½”νŠΈ,
07:05
a yellow and black bodice,
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λ…Έλž€μƒ‰κ³Ό 검정색이 μ„žμΈ λ³΄λ””μŠ€μ²˜λŸΌ,
07:07
and you see these clothes on lots of other paintings,
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λ‹€λ₯Έ 그림듀에 자주 λ‚˜μ˜€λŠ” μ˜·λ“€μ΄ μžˆμ–΄μš”.
07:11
different women in the paintings, Vermeer's paintings.
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κ·Έλ¦Όμ—μ„œλŠ” 이 μ˜·λ“€μ„ μ„œλ‘œ λ‹€λ₯Έ 여인듀이 μž…κ³  μžˆκ³ μš”.
07:14
So clearly, her clothes were lent to various different women.
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κ·ΈλŸ¬λ‹ˆκΉŒ, λΆ€μΈμ˜ μ˜·μ„ λ‹€λ₯Έ μ—¬μΈλ“€μ—κ²Œ λΉŒλ €μ€€κ±°μ£ .
07:18
It's not such a leap of faith to take
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λ”°λΌμ„œ 진주귀걸이도
07:21
that that pearl earring actually belongs to his wife.
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λΆ€μΈμ˜ 것이라고 해도 ν‹€λ¦° 말은 μ•„λ‹ˆκ² μ£ .
07:25
So we've got all the elements for our story.
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자, 그럼 μ΄μ•ΌκΈ°μ˜ ꡬ성 μš”μ†ŒλŠ” λ‹€ κ°–μΆ”κ³  μžˆλ„€μš”.
07:28
She's in the studio with him for a long time.
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μ†Œλ…€λŠ” λ² λ₯΄λ©”λ₯΄μ™€ 였랜 μ‹œκ°„ λ™μ•ˆ μž‘μ—…μ‹€μ—μ„œ ν•¨κ»˜ μžˆμ–΄μš”.
07:30
These paintings took a long time to make.
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이런 그림을 κ·Έλ¦¬λŠ” λ°μ—λŠ” μ‹œκ°„μ΄ 많이 κ±Έλ¦¬κ±°λ“ μš”.
07:32
They would have spent the time alone, all that time.
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μ˜€λž«λ™μ•ˆ λ‹¨λ‘˜μ΄ μžˆμ—ˆμ„ κ²λ‹ˆλ‹€.
07:35
She's wearing his wife's pearl earring.
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μ†Œλ…€λŠ” λΆ€μΈμ˜ 진주 귀걸이λ₯Ό ν•œ μƒνƒœλ‘œμš”.
07:37
She's gorgeous. She obviously loves him. She's conflicted.
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μ•„λ¦„λ‹€μš΄ κ·Έλ…€. λ² λ₯΄λ©”λ₯΄λ₯Ό μ‚¬λž‘ν•˜λŠ” 게 λΆ„λͺ…ν•˜μ£ . κ·Έλž˜μ„œ κ°ˆλ“±μ„ κ²ͺκ³  μžˆμ–΄μš”.
07:40
And does the wife know? Maybe not.
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뢀인은 이 사싀을 μ•ŒκΉŒμš”? μ•„λ§ˆλ„ λͺ¨λ₯΄κ² μ£ .
07:43
And if she doesn't, well --
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λ§Œμ•½ 뢀인이 λͺ¨λ₯΄κ³  μžˆλ‹€λ©΄,
07:46
that's the story.
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뭐 κ·Έλ ‡κ²Œ 이야기가 이어지죠.
07:48
(Laughter)
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(μ›ƒμŒ)
07:50
The next painting I'm going to talk about
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λ‹€μŒμœΌλ‘œ μ„€λͺ…ν•  그림은
07:53
is called "Boy Building a House of Cards" by Chardin.
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샀λ₯΄λŒ•μ˜ "μΉ΄λ“œλ‘œ 집을 짓고 μžˆλŠ” λ‚¨μžμ•„μ΄"λΌλŠ” μž‘ν’ˆμž…λ‹ˆλ‹€.
07:56
He's an 18th-century French painter best known for his still lifes,
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μ •λ¬Όν™”λ‘œ 잘 μ•Œλ €μ§„ 18μ„ΈκΈ° ν”„λž‘μŠ€ μž‘κ°€μ£ .
08:00
but he did occasionally paint people.
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ν•˜μ§€λ§Œ κ·ΈλŠ” λ•Œλ•Œλ‘œ μ‚¬λžŒλ“€μ„ 그리기도 ν–ˆμ–΄μš”.
08:03
And in fact, he painted four versions of this painting,
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사싀, κ·ΈλŠ” 이 그림을 4가지 λ²„μ „μœΌλ‘œ κ·Έλ Έμ–΄μš”.
08:07
different boys building houses of cards, all concentrated.
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각기 λ‹€λ₯Έ μ†Œλ…„λ“€μ΄ μ§‘μ€‘ν•΄μ„œ μΉ΄λ“œλ‘œ 집을 짓고 있죠.
08:11
I like this version the best, because some of the boys
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μ €λŠ” 이 버전이 κ°€μž₯ λ§ˆμŒμ— λ“€μ–΄μš”. λ‹€λ₯Έ κ·Έλ¦Όμ—μ„œλŠ” μ†Œλ…„λ“€μ΄
08:14
are older and some are younger, and to me, this one,
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더 λ‚˜μ΄κ°€ λ§Žκ±°λ‚˜ 적은데, 저에겐 이 아이가 κ³¨λ””λ½μŠ€μ˜ μ£½
08:18
like Goldilocks's porridge, is just right.
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(μ—­μ£Ό: λ™ν™”μ—μ„œ κ³¨λ””λ½μŠ€λΌλŠ” μ†Œλ…€κ°€ μ„Έ 개의 μ£½ 쀑 λ”± μž…λ§›μ— λ§žλŠ” κ±Έ 고름)처럼 λ”± μ•Œλ§žμ•„μš”.
08:21
He's not quite a child, and he's not quite a man.
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아이라고 ν•˜κ³ λ„ κ·Έλ ‡κ³ , μ–΄λ₯Έμ΄λΌκ³  ν•˜κΈ°λ„ μ’€ κ·Έλ ‡μ£ .
08:25
He's absolutely balanced between innocence and experience,
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λ”± μˆœμˆ˜ν•¨κ³Ό 노련함 사이에 μžˆλŠ” λ‚˜μ΄μž…λ‹ˆλ‹€.
08:29
and that made me stop in my tracks in front of this painting.
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그게 μ €μ˜ λˆˆκΈΈμ„ ν™• λŒμ—ˆλ˜ κ±°μ˜ˆμš”.
08:34
And I looked at his face. It's like a Vermeer painting a bit.
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μ†Œλ…„μ˜ 얼꡴을 λ³΄μ•˜μ£ . λ² λ₯΄λ©”λ₯΄μ˜ κ·Έλ¦Όκ³Ό λΉ„μŠ·ν•΄μš”.
08:38
The light comes in from the left, his face is bathed
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μ™Όμͺ½μ—μ„œ 빛이 듀어와 μ†Œλ…„μ˜ 얼꡴을
08:40
in this glowing light. It's right in the center of the painting,
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λ“œλ¦¬μš°κ³  μžˆμ–΄μš”. κ·Έλ¦Ό ν•œκ°€μš΄λ°μ„œμš”.
08:42
and you look at it, and I found that when I was looking at it,
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그리고 κ·Έκ±Έ λ³΄λ©΄μ„œ μ „ μ œκ°€ μ–΄λŠμƒˆ
08:45
I was standing there going,
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"λ‚˜λ₯Ό 봐. 제발 λ‚˜λ₯Ό 바라봐."
08:47
"Look at me. Please look at me."
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라고 λ§ν•˜κ³  μžˆλ‹€λŠ” κ±Έ κΉ¨λ‹«κ²Œκ²Œ λ˜μ—ˆμ–΄μš”.
08:50
And he didn't look at me. He was still looking at his cards,
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ν•˜μ§€λ§Œ κ·ΈλŠ” μ €λ₯Ό 보지 μ•Šμ•˜μ–΄μš”. μΉ΄λ“œλ§Œ 바라보고 있죠.
08:52
and that's one of the seductive elements of this painting is,
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그게 이 μž‘ν’ˆμ˜ 맀λ ₯ κ°€μš΄λ° ν•˜λ‚˜μ˜ˆμš”.
08:55
he's so focused on what he's doing that he doesn't look at us.
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μ†Œλ…„μ€ λ„ˆλ¬΄ λͺ°λ‘ν•œ λ‚˜λ¨Έμ§€ μš°λ¦¬μ—κ²Œ λˆˆκΈΈμ„ 주지 μ•Šμ£ .
09:00
And that is, to me, the sign of a masterpiece,
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λ­”κ°€ ν™•μ‹€ν•˜κ²Œ 결둠이 λ‚˜μ§€ μ•ŠλŠ” μž‘ν’ˆ,
09:04
of a painting when there's a lack of resolution.
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저에겐 κ·Έκ²ƒμ΄μ•Όλ§λ‘œ κ±Έμž‘μ˜ μ¦κ±°μž…λ‹ˆλ‹€.
09:08
He's never going to look at me.
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μ†Œλ…„μ€ κ²°μ½” μ €λ₯Ό 쳐닀보지 μ•Šκ² μ£ .
09:09
So I was thinking of a story where,
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κ·Έλž˜μ„œ μ €λŠ” 이런 상황이라면,
09:11
if I'm in this position, who could be there looking at him?
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μ†Œλ…„μ„ κ΄€μ°°ν•˜κ³  μžˆμ„ μ‚¬λžŒμ€ λˆ„κ΅΄κΉŒ? 라고 μƒκ°ν–ˆμ–΄μš”.
09:14
Not the painter, I don't want to think about the painter.
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ν™”κ°€λ₯Ό λΉΌκ³ μš”. ν™”κ°€λΌκ³ λŠ” μƒκ°ν•˜κ³  싢지 μ•Šλ„€μš”.
09:16
I'm thinking of an older version of himself.
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μ €λŠ” κ·Έ μ†Œλ…„λ³΄λ‹€ 더 λ‚˜μ΄κ°€ λ“  μ‚¬λžŒμ„ μƒκ°ν•˜κ³  μžˆμ–΄μš”.
09:19
He's a man, a servant, an older servant looking at this younger servant,
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λ‚¨μž, ν•˜μΈ, λ‚˜μ΄κ°€ λ§Žμ€ ν•˜μΈμ΄ 젋은 ν•˜μΈμ„ λ³΄λ©΄μ„œ
09:25
saying, "Look at me. I want to warn you about
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"이봐. λ„ˆκ°€ μ•žμœΌλ‘œ κ²ͺ게 될 일에 λŒ€ν•΄ 이야기 ν•  게 μžˆλ‹€.
09:27
what you're about to go through. Please look at me."
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κ·ΈλŸ¬λ‹ˆ λ‚  μ’€ 보라ꡬ." 라고 λ§ν•˜λŠ” κ±°μ£ .
09:30
And he never does.
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κ·ΈλŸ¬λ‚˜ μ†Œλ…„μ€ λŒμ•„λ³΄μ§€ μ•Šκ³ μš”.
09:31
And that lack of resolution, the lack of resolution in "Girl with a Pearl Earring" --
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결말에 λŒ€ν•œ λΆˆν™•μ‹€μ„±. "진주 귀걸이λ₯Ό ν•œ μ†Œλ…€"μ—μ„œ λ‚˜νƒ€λ‚œ
09:35
we don't know if she's happy or sad.
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λΆˆν™•μ‹€μ„±μ€ μ†Œλ…€κ°€ κΈ°μœκ±΄μ§€, μŠ¬ν”ˆκ±΄μ§€ μ•Œ 수 μ—†λ‹€λŠ” κ²λ‹ˆλ‹€.
09:37
I've written an entire novel about her,
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μ €λŠ” 이 μ†Œλ…€μ— λŒ€ν•΄ μ†Œμ„€ ν•œ κΆŒμ„ μΌλŠ”λ°λ„
09:39
and I still don't know if she's happy or sad.
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아직도 μ†Œλ…€κ°€ κΈ°μœμ§€ μŠ¬ν”ˆμ§€ μ•Œ 수 μ—†μ–΄μš”.
09:41
Again and again, back to the painting,
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κ³„μ†ν•΄μ„œ λ‹€μ‹œ, κΆκΈˆμ¦μ„ μ±„μ›Œ 쀄 λ‹¨μ„œλ₯Ό μ°ΎκΈ° μœ„ν•΄
09:43
looking for the answer, looking for the story to fill in that gap.
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그림을 보고, 또 λ΄…λ‹ˆλ‹€.
09:47
And we may make a story, and it satisfies us momentarily,
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μž μ‹œλ™μ•ˆ λ§Œμ‘±ν• λ§Œν•œ 이야길 μ§€μ–΄λ‚΄μ§€λ§Œ,
09:51
but not really, and we come back again and again.
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κ²°κ΅­ λ§Œμ‘±ν•  수 μ—†μ–΄μ„œ λ‹€μ‹œ μ›μ μœΌλ‘œ λŒμ•„μ˜΅λ‹ˆλ‹€.
09:57
The last painting I'm going to talk about
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μ œκ°€ μ„€λͺ…ν•˜λ €λŠ” λ§ˆμ§€λ§‰ μž‘ν’ˆμ€
09:59
is called "Anonymous" by anonymous. (Laughter)
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읡λͺ…μ˜ μ‚¬λžŒμ΄ κ·Έλ¦° "읡λͺ…"μ΄λΌλŠ” μž‘ν’ˆμž…λ‹ˆλ‹€.(μ›ƒμŒ)
10:04
This is a Tudor portrait bought by the National Portrait Gallery.
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κ΅­λ¦½μ΄ˆμƒν™”λ―Έμˆ κ΄€μ΄ μ†Œμž₯ν•˜κ³  있 λŠ” νŠœλ” μ™•κ°€ λ•Œμ˜ μž‘ν’ˆμž…λ‹ˆλ‹€.
10:07
They thought it was a man named Sir Thomas Overbury,
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μ²˜μŒμ—” ν† λ§ˆμŠ€ μ˜€λ²„λ² λ¦¬ 경의 μ΄ˆμƒν™”λΌκ³  μƒκ°ν–ˆμ–΄μš”.
10:10
and then they discovered that it wasn't him,
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λ‚˜μ€‘μ— μ˜€λ²„λ² λ¦¬ 경이 μ•„λ‹ˆμ—ˆλ‹€λŠ” 게 λ°ν˜€μ§€κ³  λ‚˜μž,
10:12
and they have no idea who it is.
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κ·Έκ°€ λˆ„κ΅°μ§€ 아무도 λͺ¨λ₯΄κ²Œ λ˜μ—ˆμ£ .
10:14
Now, in the National Portrait Gallery,
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κ΅­λ¦½μ΄ˆμƒν™”λ―Έμˆ κ΄€μ—μ„œλŠ”
10:16
if you don't know the biography of the painting,
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μž‘ν’ˆμ˜ μ „κΈ°λ₯Ό λͺ¨λ₯΄λ©΄
10:18
it's kind of useless to you.
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사싀상 μ“Έλͺ¨κ°€ μ—†μŠ΅λ‹ˆλ‹€.
10:19
They can't hang it on the wall, because they don't know who he is.
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λˆ„κ΅¬μ˜ μ΄ˆμƒν™”μΈμ§€λ„ λͺ¨λ₯΄κΈ° λ•Œλ¬Έμ— 벽에 κ±Έ μˆ˜λ„ μ—†κ³ μš”.
10:22
So unfortunately, this orphan spends most of his time in storage,
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κ·Έλž˜μ„œ μ•ˆνƒ€κΉκ²Œλ„, 이 'κ³ μ•„ μž‘ν’ˆ'은 λ‹€λ₯Έ μˆ˜λ§Žμ€ 'κ³ μ•„ μž‘ν’ˆ'λ“€κ³Ό ν•¨κ»˜
10:27
along with quite a number of other orphans,
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창고에 μ³λ°•ν˜€ 지내야 ν–ˆμŠ΅λ‹ˆλ‹€.
10:29
some of them some beautiful paintings.
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κ·Έ μ€‘μ—λŠ” μ•„λ¦„λ‹€μš΄ μž‘ν’ˆλ“€λ„ λͺ‡ 점 μžˆμ—ˆμ–΄μš”.
10:31
This painting made me stop in my tracks for three reasons:
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ν•˜μ§€λ§Œ 이 μž‘ν’ˆμ΄ μ €λ₯Ό λΆ™μž‘μ€ λ°μ—λŠ” 3가지 μ΄μœ κ°€ μžˆμŠ΅λ‹ˆλ‹€.
10:36
One is the disconnection between his mouth
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ν•˜λ‚˜λŠ” 그의 웃고 μžˆλŠ” μž…κ³Ό
10:39
that's smiling and his eyes that are wistful.
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μ• λ ¨ν•œ λˆˆλΉ› μ‚¬μ΄μ˜ 괴리감 λ•Œλ¬Έμ΄μ—μš”.
10:42
He's not happy, and why isn't he happy?
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κ·ΈλŠ” ν–‰λ³΅ν•˜μ§€ μ•ŠμŠ΅λ‹ˆλ‹€. μ™œ μΌκΉŒμš”?
10:45
The second thing that really attracted me
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μ €λ₯Ό λ§€λ£Œμ‹œν‚¨ 또 λ‹€λ₯Έ 점은 λ°”λ‘œ
10:49
were his bright red cheeks.
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그의 밝고 뢉은 λΊ¨μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
10:50
He is blushing. He's blushing for his portrait being made!
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κ·ΈλŠ” 얼꡴을 λΆ‰νžˆκ³  있죠. 자기 μ΄ˆμƒν™”λ₯Ό λ§Œλ“€κΈ° λ•Œλ¬Έμ—μš”.
10:54
This must be a guy who blushes all the time.
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μ‰½κ²Œ 볼이 λ°œκ°œμ§€λŠ” μ‚¬λžŒμ΄μ—ˆμ„ κ²λ‹ˆλ‹€.
10:57
What is he thinking about that's making him blush?
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무슨 생각이 그의 볼을 λΆ‰κ²Œ λ§Œλ“€μ—ˆμ„κΉŒμš”?
10:59
The third thing that made me stop in my tracks
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제 λ°œκ±ΈμŒμ„ λ©ˆμΆ”κ²Œ ν•œ 이 μž‘ν’ˆμ˜ 또 λ‹€λ₯Έ 맀λ ₯은 λ°”λ‘œ
11:03
is his absolutely gorgeous doublet.
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정말 멋진 λ”λΈ”λ¦Ώμž…λ‹ˆλ‹€. (*μ—­μ£Ό: 14~17세기에 남성듀이 μž…λ˜ 짧고 κΌ­ λΌλŠ” μƒμ˜)
11:06
Silk, gray, those beautiful buttons.
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μ‹€ν¬λ‘œ λ§Œλ“  μžΏλΉ›μ˜ μ•„λ¦„λ‹€μš΄ 단좔.
11:09
And you know what it makes me think of,
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κ·Έ μ‘°ν™”λŠ” 제게 μΌμ’…μ˜ μ•„λŠ‘ν•˜κ³  ν‘Ήμ‹ ν•œ -
11:11
is it's sort of snug and puffy; it's like a duvet spread over a bed.
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μΉ¨λŒ€μœ„μ˜ μ΄λΆˆμ„ μƒκ°λ‚˜κ²Œ ν•©λ‹ˆλ‹€.
11:16
I kept thinking of beds and red cheeks,
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κ³„μ†ν•΄μ„œ μΉ¨λŒ€μ™€ λΉ¨κ°œμ§„ 뺨을 μƒκ°ν•˜λ©΄μ„œ
11:18
and of course I kept thinking of sex when I looked at him,
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κ·Έλ₯Ό λ³Ό λ•Œλ§ˆλ‹€ 성관계에 λŒ€ν•œ 생각이 λ“€κ²Œ ν–ˆμ£ .
11:21
and I thought, is that what he's thinking about?
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그도 λ‚˜μ™€ 같은 생각을 ν•˜κ³  μžˆμ„κΉŒ? 라고 생각을 ν•˜κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
11:24
And I thought, if I'm going to make a story,
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이에 λŒ€ν•œ 이야기λ₯Ό λ§Œλ“œλŠ” κ³Όμ •μ—μ„œ,
11:26
what's the last thing I'm going to put in there?
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λ§ˆμ§€λ§‰μœΌλ‘œ 뭘 λ„£μ„κΉŒ? κ³ λ―Όν–ˆμ£ .
11:28
Well, what would a Tudor gentleman be preoccupied with?
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νŠœλ” μ™•μ‘°μ˜ 신사듀은 무엇에 μ‚¬λ‘œμž‘ν˜€ μžˆμ—ˆμ„κΉŒμš”?
11:32
And I thought, well, Henry VIII, okay.
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μ „ κ·Έ λŒ€μƒμ„ 헨리 8μ„Έλ‘œ μƒκ°ν–ˆκ³ 
11:34
He'd be preoccupied with his inheritance, with his heir.
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μ•„λ§ˆλ„ κ·ΈλŠ” 상속과 그의 ν›„κ³„μžμ— κ΄€ν•œ μƒκ°μœΌλ‘œ μ‚¬λ‘œμž‘ν˜€ μžˆμ—ˆκ² μ£ .
11:38
Who is going to inherit his name and his fortune?
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λˆ„κ°€ 그의 이름과 μœ μ‚°μ„ μ΄μ–΄λ°›μ„κΉŒμš”?
11:41
You put all those together, and you've got your story
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이 λͺ¨λ“  것듀을 λͺ¨μ•„보면, μ—¬λŸ¬λΆ„μ€ μ—¬λŸ¬λΆ„λ“€μ˜ κΆκΈˆμ¦μ— λŒ€ν•œ
11:45
to fill in that gap that makes you keep coming back.
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κ°ˆμ¦μ„ ν•΄μ†Œν•΄ 쀄 이야길 λ§Œλ“€κ²Œ λ©λ‹ˆλ‹€.
11:49
Now, here's the story.
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자, 제 생각은 μ΄λ ‡μŠ΅λ‹ˆλ‹€.
11:53
It's short.
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μ§§μ•„μš”.
11:56
"Rosy"
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"λ‘œμ§€" (Rosy:μž₯λ°‹λΉ›)*
11:59
I am still wearing the white brocade doublet Caroline gave me.
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아직도 λ‚œ 케둀린이 μ€€ ν•˜μ–€μƒ‰ 양단 더블릿을 μž…κ³  μžˆλ‹€.
12:03
It has a plain high collar, detachable sleeves
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μˆ˜μˆ˜ν•œ 높은 깃에, λΆ™μ˜€λ‹€ λ—„ 수 μžˆλŠ” μ†Œλ§€
12:07
and intricate buttons of twisted silk thread,
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비단싀이 λ³΅μž‘ν•˜κ²Œ κΌ¬μ—¬ μžˆλŠ” 단좔,
12:11
set close together so that the fit is snug.
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λ‚˜ν•œν…Œ λ”± 맞게 λ§Œλ“  옷.
12:14
The doublet makes me think of a coverlet on the vast bed.
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이 더블렛은 큰 μΉ¨λŒ€μœ„μ˜ μΉ¨λŒ€λ³΄λ₯Ό μƒκ°λ‚˜κ²Œ ν•œλ‹€.
12:17
Perhaps that was the intention.
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μ•„λ§ˆλ„ 그게 κ·Έλ…€μ˜ μ˜λ„μ˜€μ„μ§€λ„ λͺ¨λ₯Έλ‹€.
12:21
I first wore it at an elaborate dinner her parents held in our honor.
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처음으둜 κ·Έκ±Έ μž…μ€ 건 κ·Έλ…€μ˜ λΆ€λͺ¨κ°€ 우리λ₯Ό μœ„ν•΄ μ •μ„±μŠ€λŸ° λ§Œμ°¬μ„ μ—΄μ—ˆμ„ λ•Œλ‹€.
12:26
I knew even before I stood up to speak
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λ‚΄κ°€ 연섀을 ν•˜λ €κ³  μΌμ–΄μ„œκΈ°λ„ 전에,
12:28
that my cheeks were inflamed.
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λ‚΄ 뺨이 λΆˆνƒ€μ˜€λ₯΄κ³  μžˆμŒμ„ μ•Œμ•˜λ‹€.
12:30
I have always flushed easily, from physical exertion,
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λ‚˜λŠ” 늘 μ‹¬ν•˜κ²Œ μš΄λ™μ„ ν•˜κ±°λ‚˜
12:34
from wine, from high emotion.
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μ™€μΈμ΄λ‚˜, λ“€λœ¬ κΈ°λΆ„μœΌλ‘œ μ‰½κ²Œ 볼이 λ°œκ°œμ§€κ³€ ν–ˆλ‹€.
12:36
As a boy, I was teased by my sisters and by schoolboys,
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어렸을 λ•Œ λˆ„λ‚˜λ“€κ³Ό 학ꡐ μΉœκ΅¬λ“€μ΄ 놀리곀 ν–ˆμ§€λ§Œ
12:41
but not by George.
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μ‘°μ§€λŠ” 놀리지 μ•Šμ•˜λ‹€.
12:43
Only George could call me Rosy.
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μ‘°μ§€λ§Œμ΄ λ‚˜λ₯Ό λ‘œμ§€λΌκ³  λΆ€λ₯Ό 수 μžˆμ—ˆλ‹€.
12:46
I would not allow anyone else.
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λ‹€λ₯Έ μ‚¬λžŒλ“€μ΄ κ·Έλ ‡κ²Œ λΆ€λ₯΄λŠ” κ±Έ ν—ˆλ½ν•  수 μ—†μ—ˆλ‹€.
12:48
He managed to make the word tender.
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μ‘°μ§€λŠ” κ·Έ 단어λ₯Ό λ‹€μ •ν•˜κ²Œ λ§ν•˜κ³€ ν–ˆλ‹€.
12:53
When I made the announcement, George did not
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λ‚΄κ°€ 결혼 λ°œν‘œλ₯Ό ν•˜μž, μ‘°μ§€λŠ”
12:55
turn rosy, but went pale as my doublet.
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λ°œκ°œμ§€κΈ΄ 컀녕, λ‚΄ λ”λΈ”λ ›λ§ŒνΌ μ°½λ°±ν•΄μ‘Œλ‹€.
12:58
He should not have been surprised.
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κ·Έκ°€ λ†€λž„ 것도 μ—†μ—ˆλŠ”λ°.
13:00
It has been a common assumption
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μ–Έμ  κ°€λŠ” λ‚΄κ°€ 그의 μ‚¬μ΄Œκ³Ό κ²°ν˜Όμ„ ν• κ±°λž€ 것은
13:02
that I would one day marry his cousin.
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μ‰½κ²Œ μ˜ˆμΈ‘ν•  수 μžˆλŠ” μΌμ΄μ—ˆλ‹€.
13:06
But it is difficult to hear the words aloud.
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ν•˜μ§€λ§Œ κ·Έ μ–˜κΈ°λ₯Ό 큰 μ†Œλ¦¬λ‘œ λ“£κΈ°λŠ” νž˜λ“€μ—ˆλ‹€.
13:08
I know, I could barely utter them.
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λ‚˜λ„ 겨우 κ·Έ μ–˜κΈ°λ₯Ό κΊΌλ‚Ό 수 μžˆμ—ˆλ‹€.
13:12
Afterwards, I found George on the terrace overlooking the kitchen garden.
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λ‚˜μ€‘μ— λΆ€μ—Œ 정원이 λ‚΄λ €λ‹€ λ³΄μ΄λŠ” ν…ŒλΌμŠ€μ—μ„œ 쑰지λ₯Ό μ°Ύμ•˜λ‹€.
13:16
Despite drinking steadily all afternoon, he was still pale.
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μ˜€ν›„ λ‚΄λ‚΄ μˆ μ„ λ“€μ΄μΌ°λŠ”λ°λ„ κ·ΈλŠ” μ—¬μ „νžˆ ν•Όμ‘₯ν–ˆλ‹€.
13:21
We stood together and watched the maids cut lettuces.
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μš°λ¦¬λŠ” ν•¨κ»˜ μ„œμ„œ 양상좔λ₯Ό 자λ₯΄λŠ” ν•˜λ…€λ₯Ό 바라봀닀.
13:26
"What do you think of my doublet?" I asked.
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"λ‚΄ 더블렛 μ–΄λ•Œ?" λ‚˜λŠ” λ¬Όμ—ˆλ‹€.
13:28
He glanced at me. "That collar looks to be strangling you."
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μ‘°μ§€λŠ” λ‚˜λ₯Ό ν˜λ‚ 보며 λ§ν–ˆλ‹€. "μ˜·κΉƒμ΄ λ„€ λͺ©μ„ μ‘°λ₯΄λŠ” 것 κ°™μ•„."
13:33
"We will still see each other," I insisted.
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"우린 계속 λ§Œλ‚˜κ²Œ 될거야" λ‚˜λŠ” κ°•μ‘°ν–ˆλ‹€.
13:35
"We can still hunt and play cards and attend court.
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"같이 사λƒ₯도 λ‚˜κ°€κ³ , μΉ΄λ“œλ†€μ΄λ„ ν•˜κ³ , ꢁꢐ도 κ°€κ³ .
13:39
Nothing need change."
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아무것도 λ³€ν•˜μ§€ μ•Šμ„ κ±°μ•Ό."
13:40
George did not speak.
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μ‘°μ§€λŠ” 아무 말이 μ—†μ—ˆλ‹€.
13:44
"I am 23 years old. It is time for me to marry
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λ‚œ 벌써 23살이야. 이제 λ‚˜λ„ κ²°ν˜Όν•΄μ„œ
13:47
and produce an heir. It is expected of me."
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ν›„κ³„μžλ₯Ό λ‚³μ•„μ•Ό ν•  λ•Œκ°€ 온 거라고. λ‹€λ“€ λ‚΄κ°€ 그러길 λ°”λž˜.
13:52
George drained another glass of claret and turned to me.
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μ‘°μ§€λŠ” 포도주 ν•œ μž”μ„ λΉ„μš°κ³ , λ‚˜λ₯Ό 바라봀닀.
13:55
"Congratulations on your upcoming nuptials, James.
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"결혼 μΆ•ν•˜ν•œλ‹€, μ œμž„μŠ€.
13:59
I'm sure you'll be content together."
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λ‘˜μ΄ 잘 μ–΄μšΈλ €."
14:04
He never used my nickname again.
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κ·ΈλŠ” λ‚΄ 별λͺ…을 λ‹€μ‹œλŠ”λΆ€λ₯΄μ§€ μ•Šμ•˜λ‹€.
14:07
Thank you.
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κ³ λ§™μŠ΅λ‹ˆλ‹€.
14:09
(Applause)
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(손뼉)
14:13
Thank you.
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κ³ λ§™μŠ΅λ‹ˆλ‹€.
14:14
(Applause)
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(λ°•μˆ˜)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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