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655,478! ·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862)ÀÇ ´Ü¾î ¼ýÀÚÀÔ´Ï´Ù. Àηù ¿ª»ç»ó °¡Àå ¸¹Àº ´Ü¾î·Î ÀÌ·ç¾îÁø VenmurasuÀÇ 2,125,000°³¿¡´Â ¹ÌÄ¡Áö ¸øÇϰڽÀ´Ï´Ù¸¸, ÇÁ¶û½º¾î ÀÛǰ Áß¿¡¼­´Â Les Hommes de bonne volonté, Artamène ou le Grand Cyrus(1649~1653), À la recherche du temps perdu(1988~1990)¿¡ ÀÌ¾î ´ç´çÇϰԠ4À§! ÃÑ 5ºÎÀÛÀ¸·Î ÀÌ·ç¾îÁ® ÀÖÀ¸¸ç, 1862³â 3¿ù 30ÀÏ(1ºÎ)ºÎÅÍ 5¿ù 15ÀÏ(2ºÎ, 3ºÎ), ±×¸®°í 6¿ù 30ÀÏ(4ºÎ¿Í 5ºÎ)·Î ¼øÂ÷ÀûÀ¸·Î Ãâ°£µÇ¾ú½À´Ï´Ù. ¿øÃ¼ ¹æ´ëÇÑ ºÐ·® ´öºÐ¿¡ Ãà¾àº»À̳ª ¸¸È­¹öÀü µîµµ ´Ù¼ö Ãâ°£µÇ¾î ÀÖ½À´Ï´Ù. ³×À̹ö Ã¥ ±âÁØÀ¸·Î ·¹ ¹ÌÁ¦¶óºí °Ë»ö °ÇÀÌ 1,143°Ç¿¡ ´ÞÇÕ´Ï´Ù. ÀÛǰÀÇ Àα⸸ŭÀ̳ª ¼ö¸¹Àº ¿µÈ­, µå¶ó¸¶, ¾Ö´Ï¸ÞÀÌ¼Ç µîÀ¸·Î Á¦À۵Ǿú½À´Ï´Ù. °¡Àå ÃÖ±Ù¿¡ °³ºÀÇÑ ¿µÈ­´Â ÈÞ Àè¸Ç(Hugh Michael Jackman), ¾Ø ÇØ¼­¿þÀÌ(Anne Jacqueline Hathaway), ·¯¼¿ Å©·Î(Russell Ira Crowe), ¾Æ¸¸´Ù »çÀÌÇÁ¸®µå(Amanda Seyfried) µî ´ç´ëÀÇ ½ºÅ¸¹è¿ì°¡ ´ë°Å Ã⿬ÇÑ 2012³âÆÇÀÔ´Ï´Ù. ±¹³»¿¡¼­µµ 600¸¸ ¸íÀÌ Á¶±Ý ¾È µÇ´Â 591¸¸ ¸íÀ» µ¿¿øÇϸç, ÈïÇàÇÏ¿´½À´Ï´Ù. Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics)°ú ÇÔ²² ¾îÁ¦µµ, ¿À´Ãµµ, ³»Àϵµ ¸ÚÁø ¹®Çп©ÇàÀ»! B

 

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ÆÄ¸®ÀÇ ³ëÆ®¸£´ã(Notre-Dame de Paris)(1831) : ÆÄ¸®ÀÇ ³ëÆ®¸£´ã(Notre-Dame de Paris)º¸´Ù ³ëÆ®¸£´ãÀÇ ²ÅÃß(The Hunchback of Notre-Dame)°¡ Àͼ÷ÇÏ´Ù¸é? ÀÌ´Â ¿øÁ¦ÀÇ ¿µ¾î½Ä Ç¥±â¸¦ ¿ì¸®¸»·Î ¿Å±ä °ÍÀÔ´Ï´Ù. ÆÄ¸®ÀÇ ³ëÆ®¸£´ã(Notre-Dame de Paris)(1831)Àº 15¼¼±â ÇÁ¶û½º ÆÄ¸® ³ëÆ®¸£´ã ´ë¼º´ç(Cathédrale Notre-Dame de Paris)À» ¹è°æÀ¸·Î ºÎÁÖ±³ Ŭ·Îµå ÇÁ·Ñ·Î(Claude Frollo)¿Í ¿¡½º¸Þ¶ö´Ù(Esméralda), ²ÅÃß ÄâÁö¸ðµµ(Quasimodo)ÀÇ ¾ôÈ÷°í¼³Å² °ü°è¸¦ ´Ù·é ÀÛǰÀÔ´Ï´Ù. ³ëÆ®¸£´ãÀÇ ²ÅÃß(The Hunchback of Notre-Dame)¶õ Á¦¸ñÀº ÀÚ¿¬½º·´°Ô ²ÅÃß ÄâÁö¸ðµµ(Quasimodo)¸¦ ¶°¿Ã¸®°Ô ¸¸µì´Ï´Ù. ±×·¯³ª ¿¡½º¸Þ¶ö´Ù¿¡ ´ëÇÑ Å½¿åÀ¸·Î °­°£À» ½ÃµµÇϰí, ±×³à°¡ ÀÚ½ÅÀ» ±¸ÇØÁØ °ÍÀ¸·Î ¿ÀÇØÇØ »ç¶û¿¡ ºüÁø Æäºß½º(Phoebus de Châteaupers)¸¦ »ìÇØÇϰí, ÀÚ½ÅÀÇ ¸¶À½À» °ÅÀýÇÑ ±×³à¸¦ ±³¼öÇü¿¡ Ã³ÇØÁöµµ·Ï º¸º¹ÇÑ ºÎÁÖ±³ Ŭ·Îµå ÇÁ·Ñ·Î(Claude Frollo)¾ß¸»·Î º» ¼Ò¼³ÀÇ ÁÖÀΰøÀÔ´Ï´Ù. 1905³â ÇÁ¶û½º¸¦ ½ÃÀÛÀ¸·Î ¿µÈ­´Â ¹°·Ð ¿¬±Ø, ¹ÂÁöÄÃ, ¿ÀÆä¶ó, ¹ß·¹ µîÀ¸·Î ¼ö½Ê Â÷·Ê Á¦À۵Ǿú½À´Ï´Ù. ¹ÂÁöÄÃÀÇ °æ¿ì ±¹³»¿¡¼­µµ 2004³âºÎÅÍ ¹«´ë¿¡ ¿À¸¥ ¹Ù ÀÖ½À´Ï´Ù. µðÁî´Ï ¾Ö´Ï¸ÞÀ̼ǵµ »©³õÀ» ¼ö ¾ø°ÚÁÒ! ¹ø¿ÜÀûÀ¸·Î °æÈñ´ë Ä·ÆÛ½º Åõ¾î¸¦ °¡¸é, ÆòÈ­ÀÇ Àü´çÀÌ ³ëÆ®¸£´ã ´ë¼º´ç(Cathédrale Notre-Dame de Paris)À» ¸ðƼºê·Î °Ç¼³ÇÏ¿´´Ù°í ¼³¸íÇϸç, ÀÎÅͳݻ󿡵µ ±×·¸°Ô ¼³¸íÇÏ´Â ±ÛÀÌ ¸¹½À´Ï´Ù¸¸, ½ÇÁ¦·Î´Â º§±â¿¡ÀÇ ±¹¸³¼º´ç ¼º ¹ÌÄ«¿¤°ú ¼º³à ±¸µÑ¶ó ´ë¼º´ç(Cathédrale des Sts Michel et Gudule, Bruxelles)°ú ¶È ´à¾Ò½À´Ï´Ù. ¾Æ¸¶µµ ¡®º§±â¿¡ ±¹¸³¼º´ç¡¯Àº Àß ¸ð¸£±â ¶§¹®¿¡, ÀÎÁöµµ°¡ ³ôÀº ³ëÆ®¸£´ãÀ» ¡®À¯·´ ¼º´çÀÇ ´ë¸í»ç¡¯°ÝÀ¸·Î »ç¿ëÇÑ °ÍÀ̰ÚÁö¿ä.

 

·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862) in ±â³×½º ºÏ(Guinness Book) : Ã¥À» Ãâ°£ÇÑ À§°í´Â ÀÚ½ÅÀÇ Ã¥¿¡ ´ëÇÑ ¹ÝÀÀ(Àß ÆÈ¸®°í ÀÖ´ÂÁö!)ÀÌ ¹«Ã´ ±Ã±ÝÇß½À´Ï´Ù. ±×·¡¼­ ÃâÆÇ»ç¿¡ ¹°À½Ç¥(?) Çϳª°¡ ÀûÈù ÆíÁö¸¦ º¸³ÂÁÒ. ¼¾½º ÀÖ´Â ÃâÆÇ»ç ¶ÇÇÑ ´À³¦Ç¥(!) Çϳª¸¸ÀÌ ÀûÈù ÆíÁö¸¦ ȸ½ÅÇߴµ¥, À̰ÍÀÌ ¡®¼¼°è¿¡¼­ °¡Àå ªÀº ÆíÁö¡¯¶õ À̾߱⡦¡¦. ¾îµð¼­ ¸¹ÀÌ µé¾îº¸¼ÌÀ» °Ì´Ï´Ù. ½ÉÁö¾î ±â³×½ººÏ¿¡ ±â·ÏÀÌ µÇ¾î Àִٴµ¥ ·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862)¿¡ ¾ôÈù Èï¹Ì·Î¿î ÀÏÈ­ Áß ÇϳªÁö¿ä. ±×·¡¼­ ±â³×½ººÏ °ø½Ä »çÀÌÆ®¿¡ µé¾î°¡ Les Misérables, Victor Hugo, letter·Î °Ë»öÇØ º¸¾ÒÀ¸³ª °ü·ÃµÈ ±â·ÏÀº Ã£À» ¼ö ¾ø¾ú½À´Ï´Ù. ±×·¯³ª ·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862)°ú °ü·ÃµÈ ±â³×½ººÏ ·¹ÄÚµå´Â µÎ °¡Áö È®ÀÎÇÒ ¼ö ÀÖ¾ú½À´Ï´Ù. Ã¹Â°, ¹ÂÁöÄà ·¹ ¹ÌÁ¦¶óºí(Les Misérables)Àº 1985³â 12¿ù 4ÀϺÎÅÍ 2015³â 1¿ù 19ÀϱîÁö ¹«·Á ¡®29³â 47Àϰ£¡¯ °ø¿¬ÇÑ ¿µ±¹ ¿þ½ºÆ®¿£µå¿¡¼­ ÃÖÀå ±â°£ °ø¿¬ÇÑ ¹ÂÁöÄÃ(Longest theatrical run of a musical in the West End)ÀÔ´Ï´Ù. ·±´øÀÇ ÆÓ¸®½º ±ØÀå(Palace Theatre)¿¡¼­ °³°üÇÏ¿´°í, 2004³â 3¿ù 27ÀÏ Æó¸·ÇÑ ÈÄ 4¿ù 3ÀÏ ÄýÁî ±ØÀå(úÞ Sondheim Theatre)¿¡¼­ Àç°³°üÇÏ¿´½À´Ï´Ù. µÑ°, ¿Àµð¿À ¼³¸í ±ØÀå(Audio Described Theatre)À̶õ ½Ã°¢ Àå¾ÖÀο¡°Ô ¹è¿ìµéÀÇ ´ë»ç, À½¾Ç »Ó ¾Æ´Ï¶ó ±×µéÀÇ Çൿ°ú ¹«´ëÀåÄ¡ÀÇ ¿òÁ÷ÀÓÀ» ÇØ¼³ÇØ ÁÖ´Â ¹æ½ÄÀÇ °ø¿¬À» ÀǹÌÇÕ´Ï´Ù. ¼¼°è ÃÖ´ëÀÇ ¿Àµð¿À ¼³¸í ±ØÀå °ü°´(The largest audience for Audio Described Theatre)Àº 168¸íÀ¸·Î, ¿µ±¹ ·±´ø ÄýÁî ±ØÀå¿¡¼­ ·¹ ¹ÌÁ¦¶óºí(Les Misérables)À» °ø¿¬ÇÑ 2008³â 10¿ù 11ÀÏ ´Þ¼ºÇß½À´Ï´Ù.

 

¿ô´Â ³²ÀÚ(L'homme qui rit)(1869) & ¿µÈ­ Á¶Ä¿(Joker)(2019) : ¿ô´Â ³²ÀÚ(L'homme qui rit)(1869)´Â ºòÅ丣 À§°íÀÇ ¼Ò¼³ÀÌÁö¸¸, ±×º¸´Ù ¿µÈ­·Î ´õ À¯¸íÇÕ´Ï´Ù. ¡®¿ô´Â ³²ÀÚ¡¯¶õ ¿µÈ­°¡ ÀÖ´ø°¡? ¾Æ¸®¼ÛÇϽðÚÁö¸¸, ±× À¯¸íÇÑ ¹èÆ®¸Ç ½Ã¸®ÁîÀÇ Á¶Ä¿°¡ ¹Ù·Î ÀÌ ÀÛǰ¿¡¼­ Âø¾ÈÇÑ Àι°ÀÔ´Ï´Ù. Á¶Ä¿´Â ´Ü¼øÇÑ ¡®¹èÆ®¸ÇÀÇ Àû´ëÀÚ¡¯ ±× ÀÌ»óÀÇ Àα⸦ ²ö ¡®¼¼»ó¿¡¼­ °¡Àå À¯¸íÇÑ ºô·±¡¯ÀÔ´Ï´Ù. ´ÙÅ© ³ªÀÌÆ®(The Dark Knight)(2008)ÀÇ Á¶Ä¿¸¦ ¸ÃÀº È£ÁÖ Ãâ½ÅÀÇ È÷½º ·¹Àú(Heath Andrew Ledger)( 1979~2008)´Â °°Àº ÇØ ¾à¹° ¿À¿ëÀ¸·Î »ç¸ÁÇÏ¿´À¸¸ç, »ç¸ÁÇÑ ÀÌÈÄ¿¡ ¾ÆÄ«µ¥¹Ì¿¡¼­ ³²¿ìÁ¶¿¬»ó(2009)À» ¼ö»óÇÑ °ÍÀÌ Àü ¼¼°èÀûÀ¸·Î È­Á¦°¡ µÇ¾úÁÒ. À̸¦ ±â¹ÝÀ¸·Î, ¿ÀÁ÷ ±×¸¸À» ´Ù·é ¿µÈ­°¡ 2019³â °³ºÀÇÏ¿´½À´Ï´Ù. 2018³â¿¡´Â ¿ô´Â ³²ÀÚ(L'homme qui rit)(1869)¸¦ ¿øÀÛÀ¸·Î ÇÑ µ¿¸íÀÇ ¹ÂÁöÄÃÀÌ ¿¹¼úÀÇ Àü´ç¿¡¼­ ¸·À» ¿Ã¸° ¹Ù ÀÖ½À´Ï´Ù.

 



 

-¸ñÂ÷(Index)-

ÇÁ·Ñ·Î±×(Prologue). Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 101¼±À» Àоî¾ß Çϴ 7°¡Áö ÀÌÀ¯

17°¡Áö Ű¿öµå·Î Àд ºòÅ丣 À§°í(Victor Hugo) by Á¶¸íÈ­ ÆíÁýÀå

01. ³ª´Â »þÅäºê¸®¾Ó(Chateaubriand)ÀÌ ¾Æ´Ï¸é ¾Æ¹«°Íµµ µÇÁö ¾Ê°Ú´Ù, ºòÅ丣 À§°í(Victor Hugo)(1802~1885)

02. ¿¡¸£³ª´Ï ÀüÅõ(La Bataille d'Hernani)(1830)

03. ÆÄ¸®ÀÇ ³ëÆ®¸£´ã(Notre-Dame de Paris)(1831)

04. ·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862)

05. ·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862) in ±â³×½º ºÏ(Guinness Book)

06. ¿ô´Â ³²ÀÚ(L'homme qui rit)(1869) & ¿µÈ­ Á¶Ä¿(Joker)(2019)

07. À¯¾ðÀå(Last Will)(1885)

08. ¿ÀÆä¶ó(Opera)

09. º£Æ®³² ±î¿À´ÙÀ̱³(Ô³ÍÔÓæ, Đạo Cao Đài)ÀÇ ¼ºÀÎ(á¡ìÑ)(1926)

10. ÇÁ¶û½º ´©º¸ ÇÁ¶û(Nouveau Franc) 5NF(1960~1968)

11. ¾Æµ¨ H À̾߱â(L'Histoire d'Adèle H.)(1970)

12. ÇÁ¶û½º2 °¡Àå À§´ëÇÑ ÇÁ¶û½ºÀÎ(The Greatest Frenchman) 6À§(2005)

13. ±¸±Û µÎµé(Google Doodle)(2017)

14. ±¸±Û ¾ÆÆ® ¾Ø ÄÃÃÄ(Google Arts and Culture)

15. ºòÅ丣 À§°í(Victor Hugo)¸¦ ¸¸³ª´Â Àå¼Ò TOP17

16. ¿Àµð¿ÀºÏ(Audio Books)À¸·Î µè´Â ºòÅ丣 À§°í(Victor Hugo)

17. ºòÅ丣 À§°í(Victor Hugo) ¾î·Ï(Quotes)(30)

·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862) Volume I—Fantine

Preface

Book First-A Just Man

I. M. Myriel

II. M. Myriel becomes M. Welcome

III. A Hard Bishopric for a Good Bishop

IV. Works corresponding to Words

V. Monseigneur Bienvenu made his Cassocks last too long

VI. Who guarded his House for him

VII. Cravatte

VIII. Philosophy after Drinking

IX. The Brother as depicted by the Sister

X. The Bishop in the Presence of an Unknown Light

XI. A Restriction

XII. The Solitude of Monseigneur Welcome

XIII. What he believed

XIV. What he thought

Book Second-The Fall

I. The Evening of a Day of Walking

II. Prudence counselled to Wisdom

III. The Heroism of Passive Obedience

IV. Details concerning the Cheese-Dairies of Pontarlier

V. Tranquillity

VI. Jean Valjean

VII. The Interior of Despair

VIII. Billows and Shadows

IX. New Troubles

X. The Man aroused

XI. What he does

XII. The Bishop works

XIII. Little Gervais

Book Third-In the Year 1817

I. The Year 1817

II. A Double Quartette

III. Four and Four

IV. Tholomyes is so Merry that he sings a Spanish Ditty

V. At Bombardas

VI. A in which they adore Each Other

VII. The Wisdom of Tholomyes

VIII. The Death of a Horse

IX. A Merry End to Mirth

Book Fourth-To Confide is sometimes to Deliver into a Person¡¯s Power

I. One Mother meets Another Mother

II. First Sketch of Two Unprepossessing Figures

III. The Lark

Book Fifth-The Descent

I. The History of a Progress in Black Glass Trinkets

II. Madeleine

III. Sums deposited with Laffitte

IV. M. Madeleine in Mourning

V. Vague Flashes on the Horizon

VI. Father Fauchelevent

VII. Fauchelevent becomes a Gardener in Paris

VIII. Madame Victurnien expends Thirty Francs on Morality

IX. Madame Victurnien's Success

X. Result of the Success

XI. Christus nos Liberavit

XII. M. Bamatabois's Inactivity

XIII. The Solution of Some Questions connected with the Municipal Police

Book Sixth-Javert

I. The Beginning of Repose

II. How Jean may become Champ

Book Seventh-The Champmathieu Affair

I. Sister Simplice

II. The Perspicacity of Master Scaufflaire

III. A Tempest in a Skull

IV. Forms assumed by Suffering during Sleep

V. Hindrances

VI. Sister Simplice put to the Proof

VII. The Traveller on his Arrival takes Precautions for Departure

VIII. An Entrance by Favor

IX. A Place where Convictions are in Process of Formation

X. The System of Denials

XI. Champmathieu more and more Astonished

Book Eight-A Counter-Blow

I. In what Mirror M. Madeleine contemplates his Hair

II. Fantine Happy

III. Javert Satisfied

IV. Authority reasserts its Rights

V. A Suitable Tomb

ºÎ·Ï(Appendix). ¼¼°èÀÇ °íÀüÀ» ¿©ÇàÇÏ´Â È÷Ä¡ÇÏÀÌÄ¿¸¦ À§ÇÑ ¾È³»¼­(The Hitchhiker's Guide to Worlds¡¯s Classics)

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ºòÅ丣 À§°í(Victor Hugo)

 

¡°Je veux être Chateaubriand ou rien.¡± ¡°³ª´Â »þÅäºê¸®¾Ó(Chateaubriand)ÀÌ ¾Æ´Ï¸é ¾Æ¹«°Íµµ µÇÁö ¾Ê°Ú´Ù.¡±

 

À¯¾ðÀå(Last Will)(1885) : ºòÅ丣 À§°íÀÇ °ø½Ä À¯¾ðÀº ´ÙÀ½ ´Ù¼¸ ¹®ÀåÀÔ´Ï´Ù. Je donne cinquante mille francs aux pauvres. Je veux être enterré dans leur corbillard. Je refuse l'oraison de toutes les Églises. Je demande une prière à toutes les âmes. Je crois en Dieu. Àú´Â 5¸¸ ÇÁ¶ûÀ» °¡³­ÇÑ »ç¶÷µé¿¡°Ô ¸Ã±é´Ï´Ù. ³ª´Â ±×µéÀÇ °¡½¿¿¡ ¹¯È÷°í ½Í¾î¿ä. Àú´Â ¸ðµç ±³È¸ÀÇ Àå·Ê½ÄÀ» °ÅºÎÇÕ´Ï´Ù. ¸ðµç ¿µÈ¥À» À§ÇÑ ±âµµ¸¦ ¹Ù¶ø´Ï´Ù. Àú´Â ½ÅÀ» ¹Ï½À´Ï´Ù. ¡®¸ðµç ±³È¸ÀÇ Àå·Ê½ÄÀ» °ÅºÎ¡¯ÇѴٴ ǥÇöÀº »ýÀü¿¡ ±³È¸°¡ ±×ÀÇ ÀÛǰÀ» ±Ý¼­·Î ÁöÁ¤ÇÑ ¾Ç¿¬(?!) ¶§¹®ÀÔ´Ï´Ù. ÆÄ¸®ÀÇ ³ëÆ®¸£´ã(Notre-Dame de Paris)(1831)¿¡ µîÀåÇϴ Ŭ·Îµå ÇÁ·Ñ·Î(Claude Frollo) ºÎÁÖ±³´Â ¿¡½º¸Þ¶ö´Ù(Esméralda)¿¡°Ô ¸Å·áµÇ¾úÀ¸³ª, ±×³àÀÇ ¸¶À½À» ¾òÁö ¸øÇÏÀÚ ±×³à¿¡°Ô ´©¸íÀ» ¾º¿ì´Â ¾ÇÀÎÀ¸·Î ±×·ÁÁý´Ï´Ù. ¼ºÁ÷ÀÚ¶ó±â¿£ ³Ê¹«³ªµµ Ÿ¶ôÇÑ Àι°ÀÌÁö¿ä. ÀÌ¿¡ ºÐ³ëÇÑ ±³´ÜÀº ÆÄ¸®ÀÇ ³ëÆ®¸£´ã(Notre-Dame de Paris)(1831)À» ºñ·ÔÇÑ ±×ÀÇ ÀÛǰÀ» ±Ý¼­·Î ÁöÁ¤ÇÏ¿´½À´Ï´Ù. ¹°·Ð ´ëÁßµéÀÇ ±×ÀÇ ÀÛǰ¿¡ ´ëÇÑ ¿­±¤±îÁö ¸·À» ¼ö´Â ¾ø¾úÁö¸¸¡¦¡¦.

 

¡°It is nothing to die. It is frightful not to live.¡± "Á×À» °ÍÀº ¾Æ¹« °Íµµ ¾Æ´Õ´Ï´Ù. »ìÁö ¾Ê´Â °ÍÀ̾߸»·Î µÎ·Á¿î ÀÏÀÔ´Ï´Ù."

 

º£Æ®³² ±î¿À´ÙÀ̱³(Ô³ÍÔÓæ, Đạo Cao Đài)ÀÇ ¼ºÀÎ(á¡ìÑ)(1926) : ±î¿À´ÙÀ̱³(Ô³ÍÔÓæ, Đạo Cao Đài)´Â º£Æ®³²ÀÇ ½ÅÈï Á¾±³·Î, 1926³â ÀÀ¿À ¹Ý ÂÅ¿ì(Ngô Văn Chiêu)°¡ â½ÃÇÏ¿´½À´Ï´Ù. ºÒ±³¸¦ ±â¹ÝÀ¸·Î º£Æ®³²ÀÇ ¹Î°£½Å¾Ó°ú ±âµ¶±³, À¯±³, µµ±³, À̽½¶÷±³ µî ´Ù¾çÇÑ Á¾±³¿Í öÇÐ, »ç»óÀÌ ¹ö¹«·ÁÁø È¥ÇÕÀû À¯ÀϽű³ÀÔ´Ï´Ù. ¿ì¸®¿¡°Ô´Â »ý¼ÒÇÏÁö¸¸ È£¾ÆÇÏ¿À±³(Đạo Hòa Hảo, Ô³ûúû¿)¿Í ÇÔ²² ³²º£Æ®³²À» Áß½ÉÀ¸·Î 2¹é¸¸ ¸í ÀÌ»óÀÇ ½ÅÀÚ¸¦ °Å´À¸° ¾ç´ë ½ÅÈï Á¾±³·Î ²ÅÈ÷¸ç »ç¿ø¿¡ º£Æ®³²ÀÇ Åä¼Ó½Å°ú ÇÔ²² ¿¹¼ö, ¹«ÇÔ¸¶µå, ¼®°¡, °øÀÚ, ³ëÀÚ µî ¼¼°è °¢ÁöÀÇ ¼ºÀÎÀ» ¸ðµÎ ¸ð½Ã°í ÀÖ´Ù´Â Á¡ÀÌ Æ¯Â¡ÀÔ´Ï´Ù. ¶ÇÇÑ »ç¿øÀÇ º®¸é¿¡ º£Æ®³²ÀÇ ¹ÎÁ·½ÃÀΠNguyen Binh Khiem(1491~1585)°ú ÇÔ²² ÇÁ¶û½º ÀÛ°¡ ºòÅ丣 À§°í(Victor Hugo)(1802~1885)¿Í Áß±¹ÀÇ Çõ¸í°¡ ¾§¿ø(áÝÙþ,)(1866~1925)À» ±×·Á ³Ö¾î ¼ºÀÎ(á¡ìÑ)À¸·Î ¸ð½Ã°í ÀÖ½À´Ï´Ù. º£Æ®³²À» ħ·«ÇÑ ÇÁ¶û½ºÀÇ ÀÛ°¡¸¦ ¼ºÀÎÀ¸·Î ¸ð½Å º£Æ®³² ½ÅÈï Á¾±³¶ó´Ï, Á¾±³ÀÇ ¼¼°è´Â ¾Ë´Ù°¡µµ ¸ð¸£°Ú½À´Ï´Ù¡¦¡¦.

 

¡°The power of a glance has been so much abused in love stories, that it has come to be disbelieved in. Few people dare now to say that two beings have fallen in love because they have looked at each other. Yet it is in this way that love begins, and in this way only.¡± ¡°´«±æÀÇ ÈûÀº »ç¶û À̾߱⿡¼­ ³Ê¹« ¸¹ÀÌ ³²¿ëµÇ¾î ¹Ï±âÁö ¾Ê°Ô µÇ¾ú½À´Ï´Ù. ÀÌÁ¦ µÎ »ç¶÷ÀÌ ¼­·Î¸¦ ÃĴٺñ⠶§¹®¿¡ »ç¶û¿¡ ºüÁ³´Ù°í °¨È÷ ¸»ÇÒ ¼ö ÀÖ´Â »ç¶÷Àº °ÅÀÇ ¾ø½À´Ï´Ù. ±×·¯³ª »ç¶ûÀº ÀÌ·± ½ÄÀ¸·Î ½ÃÀ۵ǰí, ÀÌ·± ½ÄÀ¸·Î¸¸ ½ÃÀ۵˴ϴÙ.¡±

 

ÇÁ¶û½º ´©º¸ ÇÁ¶û(Nouveau Franc) 5NF(1960~1968) : Áö±ÝÀÌ¾ß À¯·áÈ­°¡ À¯·´ Àü¿ª¿¡¼­ Åë¿ëµÇÁö¸¸, ±× ÀÌÀüÀÇ ÇÁ¶û½º¿¡¼­´Â ´ç¿¬È÷ ÀÚ±¹ÀÇ ÅëÈ­ ÇÁ¶û È­Æó¸¦ »ç¿ëÇÏ¿´½À´Ï´Ù. 1960³âºÎÅÍ ±¸±Ç ÇÁ¶ûÀ» ´ëÃ¼ÇØ »ç¿ëÇϱ⠽ÃÀÛÇÑ ´©º¸ ÇÁ¶û(Nouveau Franc)¿¡¼­´Â ºòÅ丣 À§°í°¡ À¯¸íÇÑ Àι°µé(personnalités célèbres) ½Ã¸®Áî¿¡ ¼±Á¤µÇ¾î 500F, Áï 5NFÀÇ È­Æó ¸ðµ¨·Î ¼±Á¤µÈ ¹Ù ÀÖ½À´Ï´Ù. ´©º¸ ÇÁ¶û(Nouveau Franc)Àº 1968³â 4¿ù 1ÀϺηΠ»ç¿ëÀÌ ÁßÁöµÇ¾ú½À´Ï´Ù. ´ç½ÃÀÇ ÇÁ¶û½º È­Æó´Â ¿ì¸®³ª¶óÀÇ ÇöÇà È­Æó¿Í ´Þ¸® ´Ù»öÀÇ Æú¸®Å©·Ò ÁöÆó(billet polychrome imprimé)·Î ¹«Ã´À̳ª È­·ÁÇϸç, ¾Õ¸é°ú µÞ¸é¿¡ ¸ðµÎ Àι° µµ¾ÈÀÌ µé¾î°¡ ÀÖ´Â °ÍÀÌ Æ¯Â¡ÀÔ´Ï´Ù.

 

¡°Love is like a tree: it grows by itself, roots itself deeply in our being and continues to flourish over a heart in ruin. The inexplicable fact is that the blinder it is, the more tenacious it is. It is never stronger than when it is completely unreasonable.¡± "»ç¶ûÀº ³ª¹«¿Í °°½À´Ï´Ù. »ç¶ûÀº ÀúÀý·Î ÀÚ¶ó°í, ¿ì¸®ÀÇ Á¸Àç¿¡ »Ñ¸®¸¦ ³»¸®°í, È²ÆóÇÑ ¸¶À½ À§¿¡ °è¼Ó ¹ø¼ºÇÕ´Ï´Ù. ¼³¸íÇÒ ¼ö ¾ø´Â »ç½ÇÀº ¸Í¸ñÀûÀϼö·Ï ´õ ²öÁú±â´Ù´Â °ÍÀÔ´Ï´Ù. ±×°ÍÀº ¿ÏÀüÈ÷ ºÒÇÕ¸®ÇÒ ¶§ º¸´Ù °áÄÚ ´õ °­ÇÏÁö ¾Ê½À´Ï´Ù."

 

ÇÁ¶û½º2 °¡Àå À§´ëÇÑ ÇÁ¶û½ºÀÎ(The Greatest Frenchman) 6À§(2005) : ÇÁ¶û½º ¹æ¼Û±¹ ÇÁ¶û½º2(France 2)´Â 2005³â ¿µ±¹ BBCÀÇ À§´ëÇÑ ¿µ±¹ÀÎ(Great Britons)ÀÇ ÇÁ¶û½ºÆÇÀΠLe Plus Grand Français de tous les temps, °¡Àå À§´ëÇÑ ÇÁ¶û½ºÀÎ(The Greatest Frenchman)¶õ ÇÁ·Î±×·¥À» ¹æ¿µÇÏ¿´½À´Ï´Ù. ¿µ±¹°ú ¸¶Âù°¡Áö·Î °ÝÇÑ Âù¹Ý¾ç·Ð°ú ÇÔ²² ´ëÁßµéÀÇ ¶ß°Å¿î °ü½ÉÀ» ¹Þ¾ÒÀ¸¸ç, 102¸íÀÇ À§ÀÎÀ» »ÌÀº °¡¿îµ¥, 18´ë ´ëÅë·É »þ¸¦ µå°ñ(Charles de Gaulle)ÀÌ 1À§¸¦ Â÷ÁöÇß½À´Ï´Ù. ºòÅ丣 À§°í(Victor Hugo)´Â 6À§¿¡ À̸§À» ¿Ã·È½À´Ï´Ù. ÈåÀ½, °¡Àå À§´ëÇÑ ÇÁ¶û½ºÀÎ(The Greatest Frenchman)¿¡´Â È­ÇÐÀÚ ·çÀÌ ÆÄ½ºÅð¸£(Louis Pasteur)¿Í ¹°¸®ÇÐÀÚ °â È­ÇÐÀÚ ¸¶¸® Äû¸®(Marie Curie) ¿Ü¿£ ³¸¼± À̸§µéÀÌ ¸¹³×¿ä. ¹ø¿ÜÀûÀ¸·Î ³ªÆú·¹¿Ë(Napoleon Bonaparte)ÀÌ 16À§¿¡ ºÒ°úÇϸç, ÀÜ ´Ù¸£Å©(Joan of Arc)´Â ¾Æ¿¹ 102¸í ¾È¿¡ À̸§Á¶Â÷ ¿Ã¸®Áö ¸øÇß½À´Ï´Ù.

 

¡°The greatest happiness of life is the conviction that we are loved -- loved for ourselves, or rather, loved in spite of ourselves.¡± "ÀλýÀÇ °¡Àå Å« ÇູÀº ¿ì¸®°¡ »ç¶û¹Þ°í ÀÖ´Ù´Â È®½ÅÀÔ´Ï´Ù. ¿ì¸® ÀÚ½ÅÀ» À§ÇØ, È¤Àº ¿ì¸® Àڽſ¡°Ôµµ »ç¶û¹Þ°í ÀÖ´Ù´Â È®½Å ¸»ÀÔ´Ï´Ù."

 

±¸±Û µÎµé(Google Doodle)(2017) : ±¸±ÛÀº 2017³â 6¿ù 30ÀÏ ´Ù¼¸ ÀåÀÇ À̹ÌÁö·Î ±¸¼ºµÈ ºòÅ丣 À§°í(Victor Hugo)(1802~1885) Å׸¶ÀÇ ±¸±Û µÎµé(Google Doodle)(2017)À» °ø°³ÇÏ¿´½À´Ï´Ù. ±×ÀÇ ´ëÇ¥ÀÛ ÆÄ¸®ÀÇ ³ëÆ®¸£´ã(Notre-Dame de Paris)(1831), ¸í»ó½ÃÁý(Les Contemplations)(1856), ·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862)À» ¼ÒÀç·Î ÇÏ¿´½À´Ï´Ù. ±¸±ÛÀº ´ë°³ ¹®Çа¡ÀÇ »ýÀÏÀ̳ª »ç¸ÁÀÏÀ» ±âÁØÀ¸·Î 100ÁÖ³â, 150ÁÖ³â, 200Áֳ⠵ ±¸±Û µÎµé(Google Doodle)À» ¹ßÇ¥ÇÏÁö¸¸, ¡®6¿ù 30ÀÏ¡¯Àº ±×ÀÇ »ýÀÏÀ̳ª »ç¸ÁÀÏÀÌ ¾Æ´Ñ ¡®·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862)ÀÇ 4ºÎ¿Í 5ºÎ°¡ Ãâ°£µÈ ³¯¡¯ÀÔ´Ï´Ù. ÃÑ 5ºÎ·Î ÀÌ·ç¾îÁø ·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862)Àº 1862³â 3¿ù 30ÀÏ 1ºÎ¸¦ ½ÃÀÛÀ¸·Î, 2ºÎ¿Í 3ºÎ°¡ 5¿ù 15ÀÏ, 4ºÎ¿Í 5ºÎ°¡ 6¿ù 30ÀÏ Ãâ°£µÇ¾ú½À´Ï´Ù. Áï 6¿ù 30ÀÏÀº ¡®ÀÛ°¡ÀÇ ·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862)ÀÌ µ¶ÀÚ¿¡°Ô ¿ÏÀüÈ÷ °ø°³µÈ ³¯¡¯À̶ó°í ÇÒ ¼ö Àְڳ׿ä.

 

¡°To love or have loved, that is enough. Ask nothing further. There is no other pearl to be found in the dark folds of life.¡± ¡°»ç¶ûÇÏµç »ç¶ûÇßµç ±×°ÍÀ¸·Î ÃæºÐÇÕ´Ï´Ù. ´õ ÀÌ»ó ¹¯Áö ¸¶¼¼¿ä. ÀλýÀÇ ¾îµÎ¿î ±¸ºÒ±¸ºÒÇÑ °÷¿¡¼­ ´Ù¸¥ ÁøÁִ ã¾Æº¼ ¼ö ¾ø½À´Ï´Ù.¡±

 


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