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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

 

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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 V—Jean Valjean

Book First-The War Between Four Walls

I. The Charybdis of the Faubourg Saint-Antoine and the Scylla

II. What Is to Be Done in the Abyss if One Does Not Converse

III. Light and Shadow

IV. Minus Five, Plus One

V. The Horizon Which One Beholds from the Summit of a Barricade

VI. Marius Haggard, Javert Laconic

VII. The Situation Becomes Aggravated

VIII. The Artillery-men Compel People to Take Them Seriously

IX. Employment of the Old Talents of a Poacher and That Infallible Marksmanship Which Influenced the Condemnation of 1796

X. Dawn

XI. The Shot Which Misses Nothing and Kills No One

XII. Disorder a Partisan of Order

XIII. Passing Gleams

XIV. Wherein Will Appear the Name of Enjolras' Mistress

XV. Gavroche Outside

XVI. How from a Brother One Becomes a Father

XVII. Mortuus Pater Filium Moriturum Expectat

XVIII. The Vulture Becomes Prey

XIX. Jean Valjean Takes His Revenge

XX. The Dead Are in the Right and the Living Are Not in the Wrong

XXI. The Heroes

XXII. Foot to Foot

XXIII. Orestes Fasting and Pylades Drunk

XXIV. Prisoner

Book Second-The Intestine of the Leviathan

I. The Land Impoverished by the Sea

II. Ancient History of the Sewer

III. Bruneseau

IV

V. Present Progress

VI. Future Progress

Book Third-Mud but the Soul

I. The Sewer and Its Surprises

II. Explanation

III. The "Spun" Man

IV. He Also Bears His Cross

V. In the Case of Sand as in That of Woman, There Is a Fineness Which Is Treacherous

VI. The Fontis

VII. One Sometimes Runs Aground When One Fancies That One Is Disembarking

VIII. The Torn Coat-Tail

IX. Marius Produces on Some One Who Is a Judge of the Matter, the Effect of Being Dead

X. Return of the Son Who Was Prodigal of His Life

XI. Concussion in the Absolute

XII. The Grandfather

Book Fourth-Javert Derailed

I

Book Fifth-Grandson and Grandfather

I. In Which the Tree with the Zinc Plaster Appears Again

II. Marius, Emerging from Civil War, Makes Ready for Domestic War

III. Marius Attacked

IV. Mademoiselle Gillenormand Ends by No Longer Thinking It a Bad Thing That M. Fauchelevent Should Have Entered with Something Under His Arm

V. Deposit Your Money in a Forest Rather than with a Notary

VI. The Two Old Men Do Everything, Each One After His Own Fashion, to Render Cosette Happy

VII. The Effects of Dreams Mingled with Happiness

VIII. Two Men Impossible to Find

Book Sixth-The Sleepless Night

I. The 16th of February, 1833

II. Jean Valjean Still Wears His Arm in a Sling

III. The Inseparable

IV. The Immortal Liver

Book Seventh-The Last Draught from the Cup

I. The Seventh Circle and the Eighth Heaven

II. The Obscurities Which a Revelation Can Contain

Book Eight-Fading Away of the Twilight

I. The Lower Chamber

II. Another Step Backwards

III. They Recall the Garden of the Rue Plumet

IV. Attraction and Extinction

Book Ninth-Supreme Shadow, Supreme Dawn

I. Pity for the Unhappy, but Indulgence for the Happy

II. Last Flickerings of a Lamp Without Oil

III. A Pen Is Heavy to the Man Who Lifted the Fauchelevent's Cart

IV. A Bottle of Ink Which Only Succeeded in Whitening

V. A Night Behind Which There Is Day

VI. The Grass Covers and the Rain Effaces

Letter to M. Daelli

Footnotes:

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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