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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 III—Marius

Book First-Paris Studied in its Atom

I. Parvulus

II. Some of his Particular Characteristics

III. He is Agreeable

IV. He may be of Use

V. His Frontiers

VI. A Bit of History

VII. The Gamin should have his Place in the Classifications of India

VIII. In which the Reader will find a Charming Saying of the Last King

IX. The Old Soul of Gaul

X. Ecce Paris, Ecce Homo

XI. To Scoff, To Reign

XII. The Future Latent in the People

XIII. Little Gavroche

Book Second-The Great Bourgeois

I. Ninety Years and Thirty-two Teeth

II. Like Master, Like House

III. Luc-Esprit

IV. A Centenarian Aspirant

V. Basque and Nicolette

VI. In which Magnon and her Two Children are seen

VII. Rule: Receive No One except in the Evening

VIII. Two do not make a Pair

Book Third-The Grandfather and the Granson

I. An Ancient Salon

II. One of the Red Spectres of that Epoch

III. Requiescant

IV. End of the Brigand

V. The Utility of going to Mass, in order to become a Revolutionist

VI. The Consequences of having met a Warden

VII. Some Petticoat

VIII. Marble against Granite

Book Fourth-The Friends of the ABC

I. A Group which barely missed becoming Historic

II. Blondeau's Funeral Oration by Bossuet

III. Marius' Astonishments

IV. The Back Room of the Café Musain

V. Enlargement of Horizon

VI. Res Angusta

Book Fifth-The Excellence of Misfortune

I. Marius Indigent

II. Marius Poor

III. Marius Grown Up

IV. M. Mabeuf

V. Poverty a Good Neighbor for Misery

VI. The Substitute

Book Sixth-The Conjunction of Two Stars

I. The Sobriquet; Mode of Formation of Family Names

II. Lux Facta Est

III. Effect of the Spring

IV. Beginning of a Great Malady

V. Divers Claps of Thunder fall on Ma'am Bougon

VI. Taken Prisoner

VII. Adventures of the Letter U delivered over to Conjectures

VIII. The Veterans themselves can be Happy

IX. Eclipse

Book Seventh-Patron Minette

I. Mines and Miners

II. The Lowest Depths

III. Babet, Gueulemer, Claquesous, and Montparnasse

IV. Composition of the Troupe

Book Eight-The Wicked Poor Man

I. Marius, while seeking a Girl in a Bonnet encounters a Man in a Cap

II. Treasure Trove

III. Quadrifrons

IV. A Rose in Misery

V. A Providential Peep-Hole

VI. The Wild Man in his Lair

VII. Strategy and Tactics

VIII. The Ray of Light in the Hovel

IX. Jondrette comes near Weeping

X. Tariff of Licensed Cabs, Two Francs an Hour

XI. Offers of Service from Misery to Wretchedness

XII. The Use made of M. Leblanc's Five-Franc Piece

XIII. Solus cum Solo, in Loco Remoto, non cogitabuntur orare Pater Noster

XIV. In which a Police Agent bestows Two Fistfuls on a Lawyer

XV. Jondrette makes his Purchases

XVI. In which will be found the Words to an English Air which was in Fashion in 1832

XVII. The Use made of Marius' Five-Franc Piece

XVIII. Marius' Two Chairs form a Vis-a-Vis

XIX. Occupying One's Self with Obscure Depths

XX. The Trap

XXI. One should always begin by arresting the Victims

XXII. The Little One who was crying in Volume Two

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

A03. ¿¬¼¼Çʵ¶µµ¼­ °íÀü 200¼±

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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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