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-¸ñÂ÷(Index)-
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 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
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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.¡±