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·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862) : ÆÄ¸®ÀÇ ³ëÆ®¸£´ã(Notre-Dame de Paris)(1831) ÀÌÈÄ ¹«·Á 31³â ¸¸¿¡ Ãâ°£ÇÑ ·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862)Àº ºòÅ丣 À§°íÀÇ ´ëÇ¥ÀÛÀÌÀÚ, ÇÁ¶û½º¸¦ ´ëÇ¥ÇÏ´Â ¹®ÇÐÀÛǰÀÔ´Ï´Ù. ÆÄ¸®ÀÇ ³ëÆ®¸£´ã(Notre-Dame de Paris)°ú ¸¶Âù°¡Áö·Î ÇÁ¶û½º¸¦ ¹è°æÀ¸·Î »ï°í ÀÖÀ¸³ª, ½Ã±â´Â 19¼¼±â·Î Â÷À̰¡ ÀÖ½À´Ï´Ù. Á¤È®ÇϰԴ 1832³â 6¿ù 5Àϰú 6ÀÏÀÇ ºÀ±â¸¦ ¹è°æÀ¸·Î ¼³Á¤Çϰí ÀÖ½À´Ï´Ù. ·¹ ¹ÌÁ¦¶óºí(Les Misérables)(1862)Àº ³ªÆú·¹¿Ë 3¼¼ÀÇ Äíµ¥Å¸(1951)·ÎºÎÅÍ ¸öÀ» ÇÇÇÑ ºòÅ丣 À§°í°¡ º§±â¿¡ ºê·ò¼¿À» °ÅÃÄ ÇÁ¶û½º¿Í ÀÎÁ¢ÇÑ ¿µ±¹ ¿Õ½Ç ·ÉÀÇ °ÇÁö ¼¶¿¡¼­ ÁýÇÊÇÏ¿´´Ù´Â Á¡¿¡¼­µµ ÀÌ»öÀûÀÔ´Ï´Ù. Áï ÇÁ¶û½º¸¦ ´ëÇ¥ÇÏ´Â ÀÛǰÀÌ Á¤ÀÛ ¡®ÇÁ¶û½º ¹Û¡¯¿¡¼­ ¸¸µé¾îÁø ¼ÀÀÌÁÒ. ±×°¡ ¸Ó¹°·¶´ø ºê·ò¼¿ ±×¶ûÇöó¼¼ÀÇ Áý°ú °ÇÁö ¼¶¿¡´Â ÇöÀç±îÁöµµ ±× ÈçÀûÀÌ ³²¾Æ ÀÖ½À´Ï´Ù.

 

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

 

¿¡¸£³ª´Ï ÀüÅõ(La Bataille d'Hernani)(1830) : ºòÅ丣 À§°íÀÇ ¿¡¸£³ª´Ï(Hernani)(1830)´Â ÀüÅëÀ» °í¼öÇÏ´Â °íÀüÆÄ¿Í À§°í°¡ ÁöÁöÇÏ´Â ³¶¸¸ÆÄ °£ÀÇ ¹®ÇÐÀû ´ë¸³ÀÌ ±Ø¿¡ ´ÞÇß´ø ½Ã±â¿¡ Ãâ°£µÈ Èñ°îÀÔ´Ï´Ù. ´ç½Ã¿¡´Â ±«¼ºÀ» Áö¸£°í ¼Ò¶õÀ» ÇÇ¿ö ¹è¿ìµéÀÇ ÁýÁßÀ» ±ú¶ß¸®´Â µî ¹Ý´ëÆÄÀÇ °ø¿¬À» ¹æÇØÇÏ¿´½À´Ï´Ù. °ü¶÷°´À¸·Î À§ÀåÇØ ±ØÀå¿¡ ÀÔÀåÇÏ´Â °ÍÀ» ¸·À» ¼ö ¾ø¾ú±â¿¡, ¹®Çа¡´Ù¿î Á¡ÀÝÀº(?!) ÈѹæÀ» ÀúÁú·¶ÁÒ. ±×·¯ÀÚ, À§°í´Â ¿¡¸£³ª´Ï(Hernani)(1830)ÀÇ ÃÊ¿¬¿¡ µ¿·áµéÀ» ¼·¿ÜÇØ »çÀü¿¡ ±ØÀå °÷°÷¿¡ ¹èÄ¡ÇÔÀ¸·Î½á ±ØÀåÀÇ ºÐÀ§±â¸¦ Àå¾ÇÇÏ´Â ¹æ¹ýÀ¸·Î °ø¿¬À» ¹«»çÈ÷ Ä¡¸¦ ¼ö ÀÖ¾ú½À´Ï´Ù. ÀÌ´Â ³¶¸¸ÆÄ¿Í °íÀüÆÄ °£ÀÇ ¹®ÇлçÀû ´ÙÅùÀ» ´ëÇ¥ÇÏ´Â »ó¡ÀûÀÎ »ç°ÇÀ¸·Î, 1830³â 2¿ù 25ÀÏÀÇ ÃÊ¿¬À» ¿¡¸£³ª´Ï ÀüÅõ(La Bataille d'Hernani)(1830)À̶ó°í ºÎ¸¨´Ï´Ù. ºÓÀº »ö Á¶³¢¸¦ ÀÔÀº Å׿ÀÇÊ °íƼ¿¡(Gautier Theophile)(1811~1872)°¡ À̸§À» ¾Ë¸° »ç°ÇÀ̱⵵ ÇÕ´Ï´Ù. Å׿ÀÇÊ °íƼ¿¡´Â ºòÅ丣 À§°í¸¦ ÀÚ½ÅÀÇ ¹®ÇÐÀû ½º½ÂÀ¸·Î »ïÀº ³¶¸¸ÆÄÀÇ ÁÖ¿ªÀ¸·Î, ½Ã¿Í ¼Ò¼³, ¹®¿¹ºñÆò°ú ¹ß·¹ ÁöÁ©(Giselle) µîÀ» ÁýÇÊÇÏ¸ç ¿Õ¼ºÇÏ°Ô È°µ¿ÇÏ¿´½À´Ï´Ù.

 

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 II—Cosette

Book First-Waterloo

I. What is met with on the Way from Nivelles

II. Hougomont

III. The Eighteenth of June, 1815

IV. A

V. The Quid Obscurum of Battles

VI. Four o'clock in the Afternoon

VII. Napoleon in a Good Humor

VIII. The Emperor puts a Question to the Guide Lacoste

IX. The Unexpected

X. The Plateau of Mont-Saint-Jean

XI A Bad Guide to Napoleon; A Good Guide to Bülow

XII. The Guard

XIII. The Catastrophe

XIV. The Last Square

XV. Cambronne

XVI. Quot Libras in Duce?

XVII. Is Waterloo to be considered Good?

XVIII. A Recrudescence of Divine Right

XIX. The Battle-Field at Night

Book Second-The Ship Orion

I. Number 24,601 becomes Number 9,430

II. In which the reader will peruse Two Verses which are of the Devil's Composition, possibly

III. The The Ankle-Chain Must Have Undergone a Certain Preparatory Manipulation to be Thus Broken With a Blow From a Hammer

Book Third-Accomplishment of the Promise Made to the Dead Woman

I. The Water Question at Montfermeil

II. Two Complete Portraits

III. Men must have Wine, and Horses must have Water

IV. Entrance on the Scene of a Doll

V. The Little One All Alone

VI. Which possibly proves Boulatruelle's Intelligence

VII. Cosette Side by Side with the Stranger in the Dark

VIII. The Unpleasantness of Receiving Into One's House A Poor Man Who May Be a Rich Man

IX. Thénardier and his Manoeuvre

X. He who seeks to better himself may render his Situation Worse

XI. Number 9,430 reappears, and Cosette wins it in the Lottery

Book Fourth-The Gorbeau Hovel

I. Master Gorbeau

II. A Nest for Owl and a Warbler

III. Two Misfortunes make One Piece of Good Fortune

IV. The Remarks of the Principal Tenant

V. A Five-Franc Piece falls on the Ground and produces a Tumult

Book Fifth-For A Black Hunt, A Mute Pack

I. The Zigzags of Strategy

II. It is Lucky that the Pont d'Austerlitz bears Carriages

III. To Wit, the Plan of Paris in 1727

IV. The Gropings of Flight

V. Which would be Impossible with Gas Lanterns

VI. The Beginning of an Enigma

VII. Continuation of the Enigma

VIII. The Enigma becomes Doubly Mysterious

IX. The Man with the Bell

X. Which explains how Javert got on the Scent

Book Sixth-Le Petit-Picpus

I. Number 62 Rue Petit-Picpus

II. The Obedience of Martin Verga

III. Austerities

IV. Gayeties

V. Distractions

VI. The Little Convent

VII. Some Silhouettes of this Darkness

VIII. Post Corda Lapides

IX. A Century under a Guimpe

X. Origin of the Perpetual Adoration

XI. End of the Petit-Picpus

Book Seventh-Parenthesis

I. The Convent as an Abstract Idea

II. The Convent as an Historical Fact

III. On What Conditions One can respect the Past

IV. The Convent from the Point of View of Principles

V. Prayer

VI. The Absolute Goodness of Prayer

VII. Precautions to be observed in Blame

VIII. Faith, Law

Book Eight-Cemeteries Take That Which is Committed Them

I. Which treats of the Manner of entering a Convent

II. Fauchelevent in the Presence of a Difficulty

III. Mother Innocente

IV. In which Jean Valjean has quite the Air of having read Austin Castillejo

V. It is not Necessary to be Drunk in order to be Immortal

VI. Between Four Planks

VII. In which will be found the Origin of the Saying: Don't lose the Card

VIII. A Successful Interrogatory

IX. Cloistered

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

A01. ÇϹöµå ¼­Á¡(Harvard Book Store) Á÷¿ø Ãßõ µµ¼­ 100¼±(Staff's Favorite 100 Books) & ÆÇ¸Åµµ¼­ 100À§(Top 100 Books)

A02. ¼­¿ï´ë ±ÇÀåµµ¼­ 100

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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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