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ÇÁ·Ñ·Î±×(Prologue). Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 101¼±À» Àоî¾ß ÇÏ´Â 7°¡Áö ÀÌÀ¯
17°¡Áö Å°¿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. Æĸ®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
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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 ÀÛÇ°À» ±Ý¼·Î ÁöÁ¤ÇÑ ¾Ç¿¬(?!) ¶§¹®ÀÔ´Ï´Ù. Æĸ®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 Æĸ®ÀÇ ³ëÆ®¸£´ã(Notre-Dame de Paris)(1831)À» ºñ·ÔÇÑ ±×ÀÇ ÀÛÇ°À» ±Ý¼·Î ÁöÁ¤ÇÏ¿´½À´Ï´Ù. ¹°·Ð ´ëÁßµéÀÇ ±×ÀÇ ÀÛÇ°¿¡ ´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·½ÃÀÎ Nguyen 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» ´ëüÇØ »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, ȲÆóÇÑ ¸¶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¶û½ºÆÇÀÎ Le 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 ÆĽºÅð¸£(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, ȤÀº ¿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 Æĸ®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.¡±