FRESH MAN？顽童MJ116的Fresh

一、顽童MJ116的Fresh***Game

这是顽童你知道的，你知道了什么？顽童在台湾Hiphop圈创造了好几个传奇的话题，你知道吗？他们是目前校园演唱会里最火热的学生指定演出团体，你知道吗？他们的「Just Believe」歌曲MV创作出一个月内点阅率破上百万的记录，他们有2首歌在youtube破4百万的点播率，另外有3首歌破2百万，你知道吗？顽童的粉红马台湾巡回演唱会开卖即秒杀，你知道吗？他们破天荒奇想，跨年在新生桥下举办了史无前例爆满的Hiphop跨年派对，2013年举办了同样爆满的颈部保养音乐会，你知道吗？这就是顽童你知道的！这是顽童你应该要知道的！！顽童就是当代另一层面年轻人的心声的代表，他们的音乐在高中大学热烈流传，顽童不曲高和寡，正面励志，跨界与古典音乐家苏子茵，还有Jazz大师吴智晖老师合作，从中获取更多音乐的想法，将Hiphop与古典乐还有Jazz融合，有了”顽童”的诠释。秉持着做就对了的态度，制造出人气话题，不断地为自己充电，增加大大小小的表演经验，懂得开始品尝人生的滋味，到Hiphop音乐发源地的美国去充电，放大自己的视野，国际化自己的品质，做更多全新的尝试，将更多内心的感受，催生化作音乐，打破更多顽童以前曾未达成过的音乐目标。

曲目介绍2.MJ FRESH GANG Feat： MC Hot Dog「从木栅出发，这是我们长大的地方；我们是木栅的骄傲，要让全世界看到！」讲到木栅，这个台北的城外之境，你想到什么！？木栅动物园？亦或是文山包种茶？是什么样的地域人文，造就了今天的饶舌天团顽童MJ116。2014年夏天，来自木栅的三个年轻人将颠覆你对木栅的传统认知：木栅名产不是别的，就是饶舌歌手；我们是顽童MJ116，我们的组织叫 MJ FRESH GANG。「MJ FRESH GANG，不追随前人的鞋印，我们将创造自己的捷径。」强而有力的歌词语意，宣示出他们的精神与决心，更找来台湾饶舌教父 MC Hot Dog跨刀，也住在木栅的他，更把整首歌带往另一个高度。这首歌除了宣告意味浓厚外，也是新专辑 Fresh Game的开门歌曲，传唱力极强喻为新世代的台北国歌当之无愧！3.RUNNING Feat：J.SHEON顽童知道自己不能够停歇下来，他们想要做出更好的音乐，讲出更心底的话，想要变得更好。对进步而言，前进如果只能靠双脚，他们不想用走的，他们要用跑的，不断追过不可能的自己，渴望更高等的成就有如人渴望呼吸一样。三个人不断创造稳健如快跑般的Flow与韵脚，将实际上与竞争者之间微妙的奇境写照转换成文字注入在歌曲之中，而J.Sheon的旋律就像是一个给了整首歌曲总结。也许有人会认为他们是在逃，但在为了更高的境界而跟时间赛跑的时候，他们一心只为目标前进，无需再为了这些事情而解释。4.JUNGLE历经了几亿万年的演化，人类不断的往前进，文明带给我们日新月异的生活体验；虽身处水泥牢笼的城市街景，但我们的内心却是属于那丛林原始的灵魂，弱肉强食依旧是由古至今人类唯一不变生存法则。「WELCOME TO THE JUNGLE！」顽童用着特殊的文字排列，念出的每个字韵与声线，句句字字打入你的心灵底处，副歌更是演绎出人们想逃离体制的强大意念，也许你逃得过，但你始终得面对人类为了生存的天性，以及食物链的无情循环！这首歌特地重金找来制作过Lady Gaga. Robin Thicke. Beyonce好莱坞大师级溷音师Tony Maserati进行国际等级的高水准音质溷音，让这首歌的重拍变得更狂野，感受到丛林之中野兽的震撼。6.双手插口袋 Feat：张震岳长辈常告诫我们，走路双手不要插在口袋里，我们总是不以为然。虽然这是一个无礼的举动，也象徵着我们与这疯狂世界有着一丝隔阂，我们仍想保有心中最真实的灵魂不想与世俗妥协。「每个世代的孩子总有一本难念的经」顽童MJ116代表着这个世代的青年男女，他们跟大家一样渴望成功，想功成名就，想获得大家的肯定，但是心底却保有那份赤子之心及初衷。整首歌围绕在大师兄张震岳，短简有力的轻快旋律中，副歌便是取样自他的2002年专辑中的同名歌曲``双手插口袋``。小提琴艺术家苏子茵开场编写滂沱的弦乐，更是让人发想出世代与世代间，融合与交替，承先启后的意味满溢。顽童陈述着自己的背景与过往，以及心路历程，未来的期许，写实的歌词内容让大家更贴近他们一些。7.MAN IN THE MIRROR Feat：魏如萱自古以来镜子一直都是人们的必需品，然而镜子反射出最赤裸的自己；双眼透映着自己的一切，照镜子虽能暴露自己的外表，却无法反映内心世界。但魏如萱WAWA用超然遐想的角度创作，那种莫名的感受，冰冷又带点温暖；认同中带点疑惑，矛盾的同意修辞法，衬出轻调柔性的特殊声线。顽童MJ116用特殊的第三人称记叙法来呈现这首歌，赤裸的分享出世道的难为以及每个阶段的人生压力。对你来说镜子里的自己，是你的闺中密友，它知道你所有的秘密；你无法掩饰让它知道，它也无法掩饰让你看见。大家总忘了第一次见到镜子里的自己的感觉，也忘了那种莫名的惊讶与思绪！眼前之镜有时不如心镜明亮；但心中之镜却无法真实反映在自己身上，就是这种矛盾与惊闭的心情，它就是人生之镜的小缩影！ 8.敞篷车关于爱情的浪漫你联想到什么？海滩漫步、夜景与月光、旅游各地？听见敞篷车这首歌开头的轻柔曼妙的竖琴，搭配着顽童MJ116极少使用的温雅声线，刻划出时下年轻男女似爱非恋的暧昧情怀。藉由敞篷车顽童MJ116轻声完美得像奶油般融和，呈现出他们在风格上不断尝试破旧立新却又不经意的透露感性不羁的味道。顽童带着你听这样的抒情曲中，也带领我们探索他们悠远的心灵秘境。10.偷客兄嘲讽时事与议题一向是饶舌歌手的利器之一，但顽童MJ116并不做这样的创作；反道之他们喜欢从生活上的趣事发想。偷客兄灵感出自顽童MJ116的身边朋友所发生的趣事：他们用详实且犀利的文字创造出一首戏谑且反应时下年轻人的糗事歌曲。洗脑的副歌将戏谑与道德感化为一体，让大家不自觉的传唱哼出：拎某偷客兄拎某拎某偷客兄。11.生煎包说到上海这个大城市，令你印象最深刻的是什么？对于几个从未到过上海的大男孩来说，上海着名小吃小杨生煎包便是他们的对上海的记印之一。生煎包讲述着顽童MJ116三人，到上海巡演所发展出来的趣事！从来没有去过上海的他们，有种刘姥姥逛大观园的兴奋感，初至上海的那种眼界大开与在当地吃喝玩乐的各项趣事都详记在歌词之中，从台上到台下、饭店到机场，记录着他们的周游上海的点滴。也诉说记录着他们由台北出发，会用音乐慢慢的传递至世界各地，并名扬海外。12.超级酷顽童MJ116用着直白且特殊的声线，详叙出台湾年轻世代的夜生活文化，搭上强而有力的音乐轰炸，呈现出夜店里面的派对氛围，听着这首歌，各种夜店场景一一浮现。也诉说出年轻人的玩乐不拘的心声，今朝有酒今朝醉，人生的问题我们就先放在一边吧！你喜欢台湾的夜店派对吗？你喜欢台湾的喝酒文化吗？正如洗脑的副歌所说的：他超级酷，每晚都喝到超级吐；他超级吐，跳到呼吸都超急促13.坏邻居忙碌的台北社会，也许大家从来都不知道自己的家旁住了谁。你素昧平生的芳邻，夜夜笙歌的开派对，吵得你睡不入眠，食不知味。你会怎么做？加入他们或是制止他们！？尽管嘻哈音乐已成为派对代名词、流行文化的一环；顽童MJ116，依然用他们最擅长的美式南岸派对曲风，详实的唱出自己的生活经历「我们不是坏孩子，我们只想做自己；我们认真的工作，但也拼命的玩乐。」坏邻居除了深述出轰趴(HOME PARTY)的各种景象，也说出忙碌的社会底层的大家内心最真实的渴望。歌词的内容强而有力，不用多想，让你对派对憧憬与欲望一次到顶点。如果你也想加入他们，你不必三五成群，你只需在家把这首歌转到最大声(前提是你喇叭够好的话)。欢迎加入这新鲜的游戏，新鲜的派对；管你是HIGH邻居还是坏邻居，有顽童在的地方就是派对！14.SUPER DUPER很多女孩子认识顽童MJ116的第一首作品，是一首在地下传唱许久的经典曲目顽童MJ116三个大男孩深受嘻哈文化影响长大，对自己喜欢的女孩，有别于台湾男孩子的害羞，他们大胆直白的表白，不掩饰自己的对女孩的欣赏与爱慕。整首歌曲更是强烈的表达他们对于追求女孩的各种情怀！有别于敞篷车那首似爱非恋的暧昧情怀，你一定得听听这首 SUPER DUPER15.RAP STAR综观台湾的华语乐坛里，摇滚乐派的艺人总是多过于嘻哈饶舌流派。勇敢做自己的态度一直是顽童MJ116展现与众不同的价值。RAP STAR除了展现出顽童MJ116用华语嘻哈饶舌勇于挑战现状，并宣告世人们我们不是一个摇滚乐团，我们是饶舌歌手，我们的足迹遍布整个台湾，在各大音乐祭都可以看见他们的身影。有我们顽童在的地方就有派对，就会爆棚，我们就是这个市场的主流，我们的做的是嘻哈饶舌乐，我们不需要鬼吼鬼叫，热力一样能传递到全世界！这是我们，我们做自己「这是顽童，你知道的！」17.JUST BELIEVE在新的游戏里，何以为梦，梦为何得。「一个年轻人拥有一个远大的梦想，除了相信自己，你必须要有一群挺你的朋友。」顽童MJ116的灵魂人物E-SO，入伍服兵役之前的人生感受：用轻快的氛围，念出自己对于人生的过往世态的看法！并用简单且深植人心朗朗上口的副歌旋律，表达出自己与年轻人追求梦想，渴望成功的内心感受。大家总认为不能靠饶舌来养活自己，虽然这是一个远大的梦想，但顽童MJ116正带着他们的音乐与梦想一步步的实践起飞中。梦虽美，我们将用尽全力把它拉出来；世界大，我们带着我们的音乐勇敢的征服它，因为「这是顽童你知道的！」

二、THE OLD MAN AND THE SEA 译文

Ernest Hemingway

The Old Man and the Sea may very well become one of the true classics of this generation. Certainly, the qualities of Ernest Hemingway's short novel are those which we associate with many great stories of the past: near perfection of form within the limitations of its subject matter, restraint of treatment, regard for the unities of time and place, and evocative simplicity of style. Also, like most great stories, it can be read on more than one level of meaning. On one it is an exciting but tragic adventure story. Sustained by the pride of his calling, the only pride he has left, a broken old fisherman ventures far out into the Gulf Stream and there hooks the biggest marlin ever seen in those waters. Then, alone and exhausted by his struggle to harpoon the giant fish, he is forced into a losing battle with marauding sharks; they leave him nothing but the skeleton of his catch. On another level the book is a fable of the unconquerable spirit of man, a creature capable of snatching spiritual victory from circumstances of disaster and material defeat. On still another it is a parable of religious significance, its theme supported by the writer's unobtrusive handling of Christian symbols and metaphors. Like Coleridge's Ancient Mariner, Hemingway's Cuban fisherman is a character allowing the imagination of his creator to operate simultaneously in two different worlds of meaning and value, the one real and dramatic, the other moral and devotionally symbolic.

For eighty four days old Santiago had not caught a single fish. At first a young boy, Manolin, had shared his bad fortune, but after the fortieth luckless day the boy's father told his son to go in another boat. From that time on Santiago worked alone. Each morning he rowed his skiff out into the Gulf Stream where the big fish were. Each evening he came in empty-handed.

The boy loved the old fisherman and pitied him. If Manolin had no money of his own, he begged or stole to make sure that Santiago had enough to eat and fresh baits for his lines. The old man accepted his kindness with humility that was like a quiet kind of pride. Over their evening meals of rice or black beans they would talk about the fish they had taken in luckier times or about American baseball and the great DiMaggio. At night, alone in his shack, Santiago dreamed of lions on the beaches of Africa, where he had gone on a sailing ship years before. He no longer dreamed of his dead wife.

On the eighty-fifth day Santiago rowed out of the harbor in the cool dark before dawn. After leaving the smell of land behind him, he set his lines. Two of his baits were fresh tunas the boy had given him, as well as sardines to cover his hooks. The lines went straight down into deep dark water.

As the sun rose he saw other boats in toward shore, which was only a low green line on the sea. A hovering man-of-war bird showed him where dolphin were chasing some flying fish, but the school was moving too fast and too far away. The bird circled again. This time Santiago saw tuna leaping in the sunlight. A small one took the hook on his stern line. Hauling the quivering fish aboard, the old man thought it a good omen.

Toward noon a marlin started nibbling at the bait which was one hundred fathoms down. Gently the old man played the fish, a big one, as he knew from the weight on the line. At last he struck to settle the hook. The fish did not surface. Instead, it began to tow the skiff to the northwest. The old man braced himself, the line taut across his shoulders. Although he was alone and no longer strong, he had his skill and knew many tricks. He waited patiently for the fish to tire.

The old man shivered in the cold that came after sunset. When something took one of his remaining baits, he cut the line with his sheath knife. Once the fish lurched suddenly, pulling Santiago forward on his face and cutting his cheek. By dawn his left hand was stiff and cramped. The fish had headed northward; there was no land in sight. Another strong tug on the line sliced Santiago's right hand. Hungry, he cut strips from the tuna and chewed them slowly while he waited for the sun to warm him and ease his cramped fingers.

That morning the fish jumped. Seeing it leap, Santiago knew he had hooked the biggest marlin he had even seen. Then the fish went under and turned toward the east. Santiago drank sparingly from his water bottle during the hot afternoon. Trying to forget his cut hand and aching back, he remembered the days when men had called him Campeon and he had wrestled with a giant Negro in the tavern at Cienfuegos. Once an airplane droned overhead on its way to Miami.

Close to nightfall a dolphin took the small hook he had rebaited. He lifted the fish aboard, careful not to jerk the line over his shoulder. After he had rested, he cut fillets from the dolphin and kept also the two flying fish he found in its maw. That night he slept. He awoke to feel the line running through his fingers as the fish jumped. Feeding line slowly, he tried to tire the marlin. After the fish slowed its run. he washed his cut hands in sea water and ate one of the flying fish. At sunrise the marlin began to circle. Faint and dizzy, he worked to bring the big fish nearer with each turn. Almost exhausted, he finally drew his catch alongside and drove in the harpoon. He drank a little water before he lashed the marlin to bow and stern of his skiff. The fish was two feet longer than the boat. No catch like it had ever been seen in Havana harbor. It would make his fortune, he thought, as he hoisted his patched sails and set his course toward the southwest.

An hour later he sighted the first shark. It was a fierce Mako, and it came in fast to slash with raking teeth at the dead marlin. With failing might the old man struck the shark with his harpoon. The Mako rolled and sank, carrying the harpoon with it and leaving the marlin mutilated and bloody. Santiago knew the scent would spread. Watching, he saw two shovel nosed sharks closing in. He struck at one with his knife lashed to the end of an oar and watched the scavenger sliding down into deep water. The other he killed while it tore at the flesh of the marlin. When the third appeared, he thrust at it with the knife, only to feel the blade snap as the fish rolled. The other sharks came at sunset. At first he tried to club them with the tiller from the skiff, but his hands were raw and bleeding and there were too many in the pack. In the darkness, as he steered toward the faint glow of Havana against the sky, he heard them hitting the carcass again and again. But the old man thought only of his steering and his great tiredness. He had gone out too far and the sharks had beaten him. He knew they would leave him nothing but the stripped skeleton of his great catch.

All lights were out when he sailed into the little harbor and beached his skiff. In the gloom he could just make out the white backbone and the upstanding tail of the fish. he started up the shore with the mast and furled sail of his boat. Once he fell under their weight and lay patiently until he could gather his strength. In his shack he fell on his bed and went to sleep.

There the boy found him later that morning. Meanwhile other fishermen, gathered about the skiff, marveled at the giant marlin, eighteen feet long from nose to tail. When Manolin returned to Santiago's shack with hot coffee, the old man awoke. The boy, he said, could have the spear of his fish. Manolin told him to rest, to make himself fit for the days of fishing they would have together. All that afternoon the old man slept, the boy sitting by his bed. Santiago was dreaming of lions.

老人与海

〔美〕海明威杨枕旦译注

《老人与海》完全可能成为当代一部名副其实的经典作品。厄纳斯特•海明威的这部短篇小说无疑具有以往许多巨著的共同特点：在题材所限的范围内几乎达到形式上的完美无缺、处理方法谨严、注意时间和地点的统一，行文简洁而内涵很深。另外，和极大多数巨著一样，海明威的这篇小说读起来可有不止一层的意思。一方面，这是一个激动人心的带有悲剧性的冒险故事。故事讲到一个精神沮丧的老渔人，在他对职业的自豪感(他留下的自豪感)的支持之下，冒险远航至墨西哥湾流并在那里钓住了一条该水域中从未见过的的马林鱼。故事接着说到他孤零零地、在因奋力叉住这条大鱼而耗尽了力气之后，被迫投入一场和一群海盗似的鲨鱼的绝望的搏斗之中，结果是那些鲨鱼只给他留下了猎获物的一具骨架。另一方面，这又是一个寓言，它描述了人所具有的不可征服的精神力量——一个人如何从灾难和实际失败的环境中攫取精神上的胜利。再一方面，这是带有宗教意义的一种隐喻，作者不引人注目地给这一主题添加了基督教的一些象征和比喻。和柯勒律治笔下的“老水手”一样，海明威笔下的古巴渔民是这样一个角色，他容许作者的想象力同时在两个领域中活动，这两个领域具有不同的意义和价值，一个注意写实，有着动人的情节；另一个则侧重道德说教，充满象征的意义。

桑提亚哥老人已经八十四天没有捕到一条鱼了。最初，一个年轻的孩子曼诺林和他一起分担恶运，但在过了四十天倒霉日子之后，孩子的爸爸让孩子到另一条船上干活去了。从那个时候起，桑提亚哥只是一个人干活。每天早晨他划着小船到有大鱼出没的墨西哥湾流去，每天晚上他总是两手空空地回来。

孩子喜欢并且可怜这个老渔人。曼诺林要是自己没有挣到钱，就会乞讨或偷窃以保证桑提亚哥有足够的食物和新鲜的鱼饵。老人谦卑地接受孩子的好意，谦卑中带有某种隐而不露的自豪感。晚餐时(吃的是大米饭和黑蚕豆)他们总会谈论在运气好的日子里一起捕获的大鱼，或是谈论美国的棒球赛和伟大的狄马吉奥。夜间桑提亚哥一个人躺在自己的小棚屋里，梦见非洲海滩上的狮子，几年前他航海去过那个地方。他不再梦见自己死去的老婆了。

在第八十五天，桑提亚哥在寒冷的黎明前的黑暗中，把小船划出了港口。在把陆地的气息抛在身后之后，他放下了钓丝。他的两个鱼饵是孩子给他的鲜金枪鱼，还有把鱼钩遮盖起来的沙丁鱼。钓丝垂直地下到暗黑的深水里。

太阳升起时，他看到别的一些船只都头朝着海岸，在海上看来海岸象是一条接近地平线的绿带子。一只盘旋的军舰鸟给老人指明了海豚追逐飞鱼的地方。但是鱼群游得太快、也太远了。这只猛禽又在盘旋了，这次桑提亚哥瞧见金枪鱼在太阳光下跃起。一条小金枪鱼咬住了他艉缆上的鱼钩。老人在把颤动的金枪鱼拉上船板以后，心想这可是一个好兆头。

快到中午时，一条马林鱼开始啃起一百深处的那块鱼饵来了。老人轻轻地摆布那条上了钩的鱼，根据钓丝的份量他知道那准是一条大鱼。最后他猛拉钓丝把鱼钩给稳住了。但是，那条鱼并没有浮出水面，反而开始把小船拖着往西北方向跑。老人打起精神，斜挎在肩膀上的钓丝绷得紧紧的。他虽然孤身一人，体力也不如从前，但是他有技术，他懂得许多诀窍。他耐心地等待鱼累乏下来。

日落之后，寒意袭人，老人冷得发抖。当他剩下的鱼饵中有一块被咬住时，他就用自己那把带鞘的刀把钓丝给割断了。有一次那条鱼突然一个侧身，把桑提亚哥拉得脸朝下地跌了一跤，老人的颊部也给划破了。黎明时分，他的左手变得僵硬并抽起筋来了。那条鱼还是一直往北游，一点陆地的影子都瞧不见了。钓丝又一次猛的一拉，把老人的右手给勒伤了。老人肚子饿得发慌，就从金枪鱼身上割下几片肉，放在嘴里慢慢嚼着，等着太阳出来晒暖他的身子和减轻手指抽筋的痛苦。

第二天早上，这条鱼蹦出了水面。桑提亚哥瞧见鱼的跃起，知道自己钓到了一条未见过的的马林鱼。一会儿鱼又往下沉去，转向了东方。在炽热的下午，桑提亚哥节省地喝起水壶里的水。为了忘掉划破的手和疼痛的背，他回想起过去人们如何称他为“优胜者”和他如何在西恩富戈斯地方一家酒馆里和一个大个子黑人比手劲。有一次一架飞机嗡嗡地从头上掠过，向迈阿密飞去。

黄昏之际，一条海豚吞食了他重新放上鱼饵的小钩子。他把这条“鱼”提到了船板上，小心不去拉动他肩上的钓丝。休息一会之后，他切下几片海豚肉并且把在海豚胃中发现的两条飞鱼留了下来。那天夜里他睡着了。他醒来时觉得当这条鱼跳起时钓丝就滑过他的手指。他缓慢地把钓丝放松，尽力想把这条马林鱼拖乏。在这条大鱼放慢跳跃时，他把划破的双手放在海里洗，并且吃了一条飞鱼。日出时，这条马林鱼开始打起转来了。老人感到头晕目眩，但他尽力把大鱼在每转一圈时拉得更近一些。他虽然几乎筋疲力尽，终于还是把自己的捕获物拉得和小船并排在一起并用鱼叉猛击这条马林鱼。他喝了一点水，然后把马林鱼捆绑在他那条小船的头部和尾部。这条马林鱼比船还长两英尺。哈瓦那港从来没有见过捕到这么大的鱼，他扯起有补丁的船帆开始向西南方向驶去，心想这下要发财了。

一个小时以后，他瞧见了第一条鲨鱼。这是一条凶猛的尖吻鲭鲨。它飞快地游了过来，用耙一样的牙齿撕这条死马林鱼。老人用尽余力把鱼叉往鲨鱼身上扎去。尖吻鲭鲨打着滚沉下去了，带走了鱼叉，而且已经把马林鱼咬得残缺不全，鲜血直流。桑提亚哥知道血腥味会散开来。他望着海面，看到两条犁头鲨游近来了。他用绑在桨的一头的刀子击中了其中的一条，并看着这条食腐动物滑到深海里去了。他杀死了正在撕食马林鱼的另一条鲨鱼。当第三条鲨鱼出现时，他把刀子向鲨鱼戳去。鲨鱼打了一个滚，结果把刀给折断了。日落时又有一些鲨鱼游过来了。起初他设法用舵把朝它们劈过去，但是他双手磨破了皮在流着血，而游来的鲨鱼多得成了群。在暮色中，他望着地平线上的哈瓦那的微弱的灯光，听着鲨鱼一次一次在啮咬马林鱼的尸体。老人此时想到的只是掌舵，和他自己极度的疲乏。他出海太远了，那些鲨鱼把他打败了。他知道那些鲨鱼除了大马林鱼的空骨架之外，是什么也不会给他留下的。

当他划进小港，让小船冲上沙滩时，岸上的灯火都已灭了。在朦胧之中，他只能分辨出那条马林鱼白色的脊背和竖着的尾巴。他拿着桅竿和卷起的船帆，往岸上爬去。有一次他在重压下跌倒了，他耐心地躺在地上，积蓄力气。等他进了自己的棚屋时，他一头倒在床上就睡。

那天早上晚些时候，孩子发现他时他还躺着。这个时候，一些渔民聚在那只小船的周围，对这条从头到尾长有十八英尺的大马林鱼啧啧称奇。当曼诺林拿着热咖啡回到桑提亚哥的棚屋时，老人醒了。他告诉孩子可以把他那条鱼的长吻拿走。曼诺林要老人休息，把身体养好，以便日后再一起出去捕鱼。整个下午老人都在睡觉，那孩子就坐在他的床旁边。桑提亚哥正在梦见那些狮子呢。

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