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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 IV—Saint-Denis

Book First-A Few Pages of History

I. Well Cut

II. Badly Sewed

III. Louis Philippe

IV. Cracks beneath the Foundation

V. Facts whence History springs and which History ignores

VI. Enjolras and his Lieutenants

Book Second-Éponine

I. The Lark's Meadow

II. Embryonic Formation of Crimes in the Incubation of Prisons

III. Apparition to Father Mabeuf

IV. An Apparition to Marius

Book Third-The House in the Rue Plumet

I. The House with a Secret

II. Jean Valjean as a National Guard

III. Foliis ac Frondibus

IV. Change of Gate

V. The Rose perceives that it is an Engine of War

VI. The Battle Begun

VII. To One Sadness oppose a Sadness and a Half

VIII. The Chain-Gang

Book Fourth-Succor From Below May Turn Out To Be Succor From On High

I. A Wound without, Healing within

II. Mother Plutarque finds no Difficulty in explaining a Phenomenon

Book Fifth-The End of Which Does Not Resemble the Beginning

I. Solitude and Barracks Combined

II. Cosette's Apprehensions

III. Enriched with Commentaries by Toussaint

IV. A Heart beneath a Stone

V. Cosette after the Letter

VI. Old People are made to go out opportunely

Book Sixth-Little Gavroche

I. The Malicious Playfulness of the Wind

II. In which Little Gavroche extracts Profit from Napoleon the Great

III. The Vicissitudes of Flight

Book Seventh-Slang

I. Origin

II. Roots

III. Slang which weeps and Slang which laughs

IV. The Two Duties: To Watch and to Hope

Book Eight-Enchantments and Desolations

I. Full Light

II. The Bewilderment of Perfect Happiness

III. The Beginning of Shadow

IV. A Cab runs in English and barks in Slang

V. Things of the Night

VI. Marius becomes Practical once more to the Extent of Giving Cosette his address

VII. The Old Heart and the Young Heart in the Presence of Each Other

Book Ninth-Whither are they Going?

I. Jean Valjean

II. Marius

III. M. Mabeuf

Book Tenth-The 5th of June, 1832

I. The Surface of the Question

II. The Root of the Matter

III. A Burial; an Occasion to be born again

IV. The Ebullitions of Former Days

V. Originality of Paris

Book Eleventh-The Atom Fraternizes with the Hurricane

I. Some Explanations with Regard to the Origin of Gavroche's Poetry

II. Gavroche on the March

III. Just Indignation of a Hair-dresser

IV. The Child is amazed at the Old Man

V. The Old Man

VI. Recruits

Book Twelfth-Corinthe

I. History of Corinthe from its Foundation

II. Preliminary Gayeties

III. Night begins to descend upon Grantaire

IV. An Attempt to console the Widow Hucheloup

V. Preparations

VI. Waiting

VII. The Man recruited in the Rue des Billettes

VIII. Many Interrogation Points with Regard to a Certain Le Cabuc

Book Thirteenth-Marius Enters the Shadow

I. From the Rue Plumet to the Quartier Saint-Denis

II. An Owl's View of Paris

III. The Extreme Edge

Book Fourteenth-The Grandeurs of Despair

I. The Flag : Act First

II. The Flag : Act Second

III. Gavroche would have done better to accept Enjolras' Carbine

IV. The Barrel of Powder

V. End of the Verses of Jean Prouvaire

VI. The Agony of Death after the Agony of Life

VII. Gavroche as a Profound Calculator of Distances

Book Fifteenth-The Rue de l'Homme Armé

I. A Drinker is a Babbler

II. The Street Urchin an Enemy of Light

III. While Cosette and Toussaint are Asleep

IV. Gavroche's Excess of Zeal

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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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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