ÇÁ¶ûÄ˽´Å¸ÀÎ : ȤÀº Çö´ëÀÇ ÇÁ·Î¸ÞÅ׿콺(Frankenstein; Or, The Modern Prometheus)(1818)ÀÇ ÀÛ°¡¸¦ ³Ñ¾î¼, 19¼¼±â ÃÖ°íÀÇ ¿µ±¹ ¼Ò¼³°¡ Áß ÇÑ »ç¶÷(one of the foremost English novelists of the nineteenth century)À̶ó Æò°¡¹Þ´Â ¸Þ¸® ¼Ð¸®(Mary Wollstonecraft Shelley)(1797~1851)ÀÇ ¶Ç ´Ù¸¥ ÀÛÇ°ÀÌ ±Ã±ÝÇϽôٸé? Å×ÀÏÁî ¾Ø ½ºÅ丮Áî(Tales and Stories by Mary Wollstonecraft Shelley)(1891)´Â ¸Þ¸® ¼Ð¸®ÀÇ ´ÜÆí ¸ðÀ½ÁýÀÔ´Ï´Ù. Áß¼¼ ±â»çµµ(medieval chivalry)¿Í ´ç´ëÀÇ ÀüÀï°ú Çõ¸í(the wars and revolutions of her age), ±×¸®°í ´ëÀÚ¿¬ÀÇ °æÀÌ(grandiose scenes of nature)¸¦ ¹è°æÀ¸·Î ³¶¸¸ÀûÀÎ À̾߱â(richly Romantic stories)°¡ ÆîÃÄÁý´Ï´Ù! Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics)°ú ÇÔ²² ¾îÁ¦µµ, ¿À´Ãµµ, ³»Àϵµ ¸ÚÁø ¹®Çп©ÇàÀ»! B
´ëºÎºÐÀÇ µ¶ÀÚ¿¡°Ô ¸Þ¸® ¼Ð¸®Çϸé ÇÁ¶ûÄ˽´Å¸ÀÎ : ȤÀº Çö´ëÀÇ ÇÁ·Î¸ÞÅ׿콺(Frankenstein; Or, The Modern Prometheus)(1818) ¹Û¿¡ ¶°¿À¸£Áö ¾Ê´Â ¿ø È÷Æ® ¿ø´õ(one-hit wonder)¶ó°í »ý°¢µÉ ¼ö ÀÖ°Ú½À´Ï´Ù¸¸, ½ÇÁ¦·Î ±×³à´Â µÎ ÀÚ³à¿Í ³²ÆíÀ» ÀÒ°í, À¯ÀÏÇÏ°Ô ³²Àº ¾ÆµéÀ» ºÎ¾çÇϱâ À§ÇØ ²÷ÀÓ¾øÀÌ ¼Ò¼³°ú Àâ¹®À» ¹ßÇ¥ÇÑ ´ÙÀÛ ÀÛ°¡ÀÔ´Ï´Ù. ±¹³»¿¡ Ãâ°£µÈ ÀÛÇ°ÀÌ ¸¹Áö ¾Ê´Â °ÍÀÌ ´ÜÁ¡À̱ä ÇÕ´Ï´Ù¸¸, ÃÖÈÄÀÇ Àΰ£(The Last Man by Mary Wollstonecraft Shelley)(1826)°ú ¸¶Æ¿´Ù(Mathilda by Mary Wollstonecraft Shelley)(1959)´Â ¹ø¿ªº»À¸·Î ¸¸³ªº¸½Ç ¼ö ÀÖ½À´Ï´Ù. Å×ÀÏÁî ¾Ø ½ºÅ丮Áî(Tales and Stories by Mary Wollstonecraft Shelley)(1891)´Â ÀÛ°¡ ¸Þ¸® ¼Ð¸®ÀÇ ´ÜÆí 17ÆíÀ» ¸ðÀº ¸ðÀ½ÁýÀ¸·Î, ±×³àÀÇ ÀÛÇ°¿¡ ´ëÇØ ±Ã±ÝÇÑ µ¶ÀÚ°¡ ºÎ´ã¾øÀÌ µµÀüÇϱâ ÁÁÀº ÀÛÇ°ÀÔ´Ï´Ù.
It is customary to regard Mary Shelley¡¯s claims to literary distinction as so entirely rooted and grounded in her husband¡¯s as to constitute a merely parasitic growth upon his fame. It may be unreservedly admitted that her association with Shelley, and her care of his writings and memory after his death, are the strongest of her titles to remembrance. It is further undeniable that the most original of her works is also that which betrays the strongest traces of his influence. ¹®ÇÐÀû ±¸º°¿¡ ´ëÇÑ Mary ShelleyÀÇ ÁÖÀåÀº ³²ÆíÀÇ ¸í¼º¿¡ ´ëÇÑ ±â»ýÀû ¼ºÀå¿¡ ºÒ°úÇÒ Á¤µµ·Î ÀüÀûÀ¸·Î ³²ÆíÀÇ »Ñ¸®¿¡ »Ñ¸®¸¦ µÎ°í ÀÖ´Ù°í °£ÁÖÇÏ´Â °ÍÀÌ °ü·ÊÀÔ´Ï´Ù. ¼Ð¸®¿Í ±×³àÀÇ °ü°è, ±×¸®°í ±×°¡ Á×Àº ÈÄ ±×ÀÇ ±Û°ú ±â¾ï¿¡ ´ëÇÑ ±×³àÀÇ º¸»ìÇËÀÌ ±×³à°¡ ±â¾ïÇØ¾ß ÇÒ °¡Àå °·ÂÇÑ ÄªÈ£¶ó´Â »ç½ÇÀ» ¹«Á¶°Ç ÀÎÁ¤ÇÒ ¼ö ÀÖ½À´Ï´Ù. ´õ¿íÀÌ ±×³àÀÇ ÀÛÇ° Áß °¡Àå µ¶Ã¢ÀûÀÎ °ÍÀº ±×ÀÇ ¿µÇâ·ÂÀÇ °¡Àå °·ÂÇÑ ÈçÀûÀ» º¸¿©ÁÖ´Â ÀÛÇ°À̱⵵ ÇÏ´Ù´Â Á¡Àº ºÎÀÎÇÒ ¼ö ¾ø½À´Ï´Ù.
None of Mary Shelley¡¯s subsequent romances approached Frankenstein in power and popularity. The reason may be summed up in a word—Languor. After the death of her infant son in 1819, she could never again command the energy which had carried her so vigorously through Frankenstein. Except in one instance, her work did not really interest her. Her heart is not in it. Mary ShelleyÀÇ ÈÄ¼Ó ·Î¸Ç½º Áß ¾î´À °Íµµ ÇÁ¶ûÄ˽´Å¸ÀÎÀÇ ±Ç·Â°ú Àα⿡ Á¢±ÙÇÏÁö ¸øÇß½À´Ï´Ù. ±× ÀÌÀ¯´Â ÇѸ¶µð·Î ¿ä¾àÇÒ ¼ö ÀÖ½À´Ï´Ù. 1819³â¿¡ ¾î¸° ¾ÆµéÀÌ Á×Àº ÈÄ, ±×³à´Â ÇÁ¶ûÄ˽´Å¸ÀÎÀ» ÅëÇØ ±×³à¸¦ ±×Åä·Ï °·ÂÇÏ°Ô À̲ø¾ú´ø ¿¡³ÊÁö¸¦ ´Ù½Ã´Â Áö¹èÇÒ ¼ö ¾ø¾ú½À´Ï´Ù. ÇÑ °¡Áö °æ¿ì¸¦ Á¦¿ÜÇÏ°í´Â ±×³àÀÇ ÀÏÀÌ ±×³à¿¡°Ô º°·Î °ü½ÉÀÌ ¾ø¾ú½À´Ï´Ù. ±×³àÀÇ ¸¶À½Àº ±× ¾È¿¡ ÀÖÁö ¾Ê½À´Ï´Ù.
None can have been affected by Mary Shelley¡¯s work so deeply as Mary Shelley herself; for the scenery is that of her familiar haunts, the personages are her intimates under thin disguises, the universal catastrophe is but the magnified image of the overthrow of her own fortunes; and there are pages on pages where every word must have come to her fraught with some unutterably sweet or bitter association. Yet, though her romance could never be to the public what it was to the author, it is surprising that criticism should have hitherto done so little justice either to its pervading nobility of thought or to the eloquence and beauty of very many inspired passages. Mary Shelley¸¸Å Mary ShelleyÀÇ ÀÛ¾÷¿¡ ±íÀº ¿µÇâÀ» ¹ÞÀº »ç¶÷Àº ¾ø½À´Ï´Ù. ±× dz°æÀº ±×³à¿¡°Ô Àͼ÷ÇÑ °÷ÀÇ Ç³°æÀÌ°í, Àι°µéÀº ¾ãÀº º¯ÀåÀ» ÇÑ ±×³àÀÇ Ä£¹ÐÇÑ »ç¶÷µéÀ̸ç, º¸ÆíÀûÀÎ Àç¾ÓÀº ±×³à ÀÚ½ÅÀÇ ¿î¸íÀÌ ¹«³ÊÁö´Â È®´ëµÈ À̹ÌÁö¿¡ ºÒ°úÇϱ⠶§¹®ÀÔ´Ï´Ù. ±×¸®°í ¸ðµç ´Ü¾î°¡ ±×³à¿¡°Ô Çü¾ðÇÒ ¼ö ¾øÀ» Á¤µµ·Î ´ÞÄÞÇϰųª ¾²¶ó¸° ¿¬°ü¼ºÀ¸·Î °¡µæ Â÷ ÀÖÀ½¿¡ Ʋ¸²¾ø´Â ÆäÀÌÁö°¡ ÀÖ½À´Ï´Ù. ±×·¯³ª ±×³àÀÇ ·Î¸Ç½º°¡ ÀÛ°¡¿¡°Ô ±×·¨´ø °Íó·³ ´ëÁß¿¡°Ô °áÄÚ °ø°³µÉ ¼ö ¾ø¾úÁö¸¸, ºñÆòÀÌ »ç»óÀÇ ¸¸¿¬ÇÑ °í»óÇÔÀ̳ª ¿µ°¨¹ÞÀº ¸Å¿ì ¸¹Àº ±¸ÀýÀÇ ¿õº¯°ú ¾Æ¸§´Ù¿ò¿¡ ´ëÇØ Áö±Ý±îÁö ±×´ÙÁö Á¤´çÇÏÁö ¾Ê¾Ò¾î¾ß Çß´Ù´Â °ÍÀº ³î¶ó¿î ÀÏÀÔ´Ï´Ù.
The merit of a collection of stories, casually written at different periods and under different influences, must necessarily be various. As a rule, it may be said that Mary Shelley is best when most ideal, and excels in proportion to the exaltation of the sentiment embodied in her tale. Virtue, patriotism, disinterested affection, are very real things to her; and her heroes and heroines, if generally above the ordinary plane of humanity, never transgress the limits of humanity itself. ¼·Î ´Ù¸¥ ½Ã´ë¿¡ ¼·Î ´Ù¸¥ ¿µÇâÀ» ¹Þ¾Æ ¹«½ÉÄÚ ¾²¿©Áø À̾߱⠸ðÀ½ÁýÀÇ ÀåÁ¡Àº ¹Ýµå½Ã ´Ù¾çÇØ¾ß ÇÕ´Ï´Ù. ÀϹÝÀûÀ¸·Î Mary Shelley´Â °¡Àå ÀÌ»óÀûÀÏ ¶§ °¡Àå ÈǸ¢ÇÏ°í ±×³àÀÇ À̾߱⿡ ±¸ÇöµÈ °¨Á¤ÀÇ °í¾ç¿¡ ºñ·ÊÇÏ¿© Ź¿ùÇÏ´Ù°í ¸»ÇÒ ¼ö ÀÖ½À´Ï´Ù. ¹Ì´ö, ¾Ö±¹½É, ¹«°ü½ÉÇÑ ¾ÖÁ¤Àº ±×³à¿¡°Ô ¸Å¿ì ½ÇÁ¦ÀûÀÎ °ÍÀÔ´Ï´Ù. ±×¸®°í ±×³àÀÇ ¿µ¿õµé°ú ¿©ÁÖÀΰøµéÀº ÀϹÝÀûÀ¸·Î ÀηùÀÇ Æò¹üÇÑ ¼öÁØÀ» ³Ñ¾î¼±´Ù¸é °áÄÚ Àηù ÀÚüÀÇ ÇѰ踦 ³ÑÁö ¾Ê½À´Ï´Ù. ±×³àÀÇ À߸øÀº Á¤¹Ý´ëÀ̸ç ÃßÇÏ°í Æò¹üÇÑ ±×¸²À» ±×¸®´Â ±àÁ¤ÀûÀÎ ¹«´É·Â¿¡¼ ºñ·ÔµË´Ï´Ù. ±×³à´Â ÃÖ¼±À» ´ÙÇÏÁö¸¸ ±×³àÀÇ ¾Ç´çµéÀº ¿ì¸®¿¡°Ô ±íÀº ÀλóÀ» ÁÖÁö ¾Ê½À´Ï´Ù. ij¸¯ÅÍÀÇ ¼¼¹ÐÇÑ ¹¦»ç´Â °áÄÚ ½ÃµµµÇÁö ¾Ê½À´Ï´Ù. ±×°ÍÀº ±×³àÀÇ ¿µ¿ª¿¡¼ ¿ÏÀüÈ÷ ¹þ¾î³µ½À´Ï´Ù.
-¸ñÂ÷(Index)-
ÇÁ·Ñ·Î±×(Prologue). Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 999¼±À» Àоî¾ß ÇÏ´Â 7°¡Áö ÀÌÀ¯
Á¶¸íÈ ÆíÁýÀåÀÇ 17°¡Áö Å°¿öµå·Î Àд ¸Þ¸® ¼Ð¸®(Mary Wollstonecraft Shelley)
01. ¾Æ¹öÁö Àª¸®¾ö °íµåÀ©(William Godwin)
02. ¾î¸Ó´Ï ¸Þ¸® ¿ï½ºÅÏÅ©·¡ÇÁÆ®(Mary Wollstonecraft)
03. »ç¶ûÀÇ µµÇÇÀΰ¡, À¯ºÎ³²°úÀÇ ºÒ·ûÀΰ¡?
03-1. À¯ºÎ³² ³²ÆíÀ» ¾ò°í, ³× Àڳฦ ÀÒ´Ù.
03-2. Æ۽à ºñ½Ã ¼Ð¸®ÀÇ ½ÃÁý ÀüÁý(Notes to the Complete Poetical Works of Percy Bysshe Shelley)(1839)
04. 1816³â ½ºÀ§½º Á¦³×¹Ù ºô¶ó µð¿À´ÙƼ(Villa Diodati)¿¡¼´Â ´ëü ¹«½¼ ÀÏÀÌ ÀÖ¾úÀ»±î?
04-1. ¿µ±¹ 3´ë ³¶¸¸ÁÖÀÇ ½ÃÀÎ ¹ÙÀÌ·±ÀÌ Ã³ÀÚ½ÄÀ» ¹ö¸° ¾²·¹±â¶ó°í?!
04-2. Á¶Áö °íµç ¹ÙÀÌ·±(George Gordon Byron)ÀÇ ÆÄÆí(Fragment of a Novel)(1816)
04-3. Á¸ Àª¸®¾ö Æú¸®µ¹¸®(John William Polidori)ÀÇ ¹ìÆÄÀ̾î(The Vampyre)(1819)
04-4. ¹ÙÀÌ·±ÀÇ µþ ·¯ºê·¹À̽º ¹éÀÛºÎÀÎ ¾î°Å½ºÅÍ ¿¡ÀÌ´Ù Å·(Augusta Ada King, Countess of Lovelace)
05. Àεµ³×½Ã¾Æ Žº¸¶ó È»ê(Gunung Tambora)(1815)ÀÌ Æø¹ßÇÏÁö ¾Ê¾Ò´Ù¸é, ÇÁ¶ûÄ˽´Å¸ÀÎÀº ź»ýÇÏÁö ¾Ê¾Ò´Ù?!
06. ¼Ò¼³ ÇÁ¶ûÄ˽´Å¸ÀÎ(Frankenstein)(1818)ÀÌ À͸íÀ¸·Î Ãâ°£µÈ ÀÌÀ¯´Â?
07. ¼Ò¼³ ÇÁ¶ûÄ˽´Å¸ÀÎ(Frankenstein)(1818)Àº ¼¼°è ÃÖÃÊÀÇ SF?!
08. ¿µÈ ÇÁ¶ûÄ˽´Å¸ÀÎ(Frankenstein)(1931)
09. ÇÁ¶ûÄ˽´Å¸ÀÎ(Frankenstein)ÀÌ ±«¹° À̸§ÀÌ ¾Æ´Ï¶ó°í?!
10. ¿Àµð¿ÀºÏ(Audio Books)À¸·Î µè´Â ¸Þ¸® ¼Ð¸®(Mary Wollstonecraft Shelley)
11. ¸Þ¸® ¼Ð¸®(Mary Wollstonecraft Shelley) ¾î·Ï(Quote)
¸Þ¸® ¼Ð¸®ÀÇ Å×ÀÏÁî ¾Ø ½ºÅ丮Áî(Tales and Stories by Mary Wollstonecraft Shelley)(1891)
Introduction
I. The Sisters of Albano
II. Ferdinando Eboli
III. The Evil Eye
IV. The Dream
V. The Mourner
VI. The False Rhyme
VII. A Tale of the Passions; or, The Death of Despina
VIII. The Mortal Immortal
IX. Transformation
X. The Swiss Peasant
XI. The Invisible Girl
XII. The Brother and Sister
XIII. The Parvenue
XIV. The Pole
XV. Euphrasia
XVI. The Elder Son
XVII. The Pilgrims
Transcriber¡¯s Notes
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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A10. ¹®Çлó ¼ö»óÀÛ ¹× Ãßõµµ¼(44)
A11. ¿µ¾î°íÀü(English Classics) ¿Àµð¿ÀºÏÀ» ¹«·á·Î µè´Â 5°¡Áö ¹æ¹ý(How to listen to FREE audio Books legally?)
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Å׸¶¿©Çà½Å¹® TTN Korea µµ¼¸ñ·Ï(964)
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¾Æ¹öÁö Àª¸®¾ö °íµåÀ©(William Godwin) & ¾î¸Ó´Ï ¸Þ¸® ¿ï½ºÅÏÅ©·¡ÇÁÆ®(Mary Wollstonecraft) : ÀÛ°¡ ¸Þ¸® ¼Ð¸®(Mary Wollstonecraft Shelley)´Â ºÎ¸ð´Ô ¶ÇÇÑ ¹ü»óÄ¡ ¾ÊÀº °¡¹®¿¡¼ ž½À´Ï´Ù. ±×³à´Â 1797³â 8¿ù ¿µ±¹ ·±´øÀÇ ÇÑ °¡Á¤Áý¿¡¼ Á¤Ä¡ öÇÐÀÚÀÌÀÚ ¾Æ³ªÅ°Áò »ç»ó°¡ ¾Æ¹öÁö¿Í ÃÖÃÊÀÇ Æä¹Ì´Ï½ºÆ® Áß ÇѸíÀ¸·Î ÀÏÄþîÁö´Â ¾î¸Ó´Ï »çÀÌ¿¡¼ ž½À´Ï´Ù. ¸Þ¸® ¼Ð¸®ÀÇ ¾î¸Ó´Ï ¸Þ¸® ¿ï½ºÅÏÅ©·¡ÇÁÆ®(Mary Wollstonecraft)´Â ¿©¼ºÀÇ ±Ç¸® ¿ËÈ£(A Vindication of the Rights of Woman)(1792)ÀÇ ÀúÀÚ·Î Æä¹Ì´ÏÁòÀÇ ¿ª»ç¿¡¼ ¡®ÃÖÃÊÀÇ ±Ù´ëÀû Æä¹Ì´Ï½ºÆ®¡¯·Î ÀÏÄþîÁö´Â Àι°ÀÔ´Ï´Ù. °íµåÀ©Àº »çº° ÈÄ ¾Æ³»ÀÇ Àú¼ ¿©¼ºÀÇ ±Ç¸® ¿ËÈ£(A Vindication of the Rights of Woman)(1792)¸¦ ±â¹ÝÀ¸·Î ¿©¼ºÀÇ ±Ç¸® ¿ËÈ£ÀÇ ÀúÀÚ¿¡ °üÇÑ È¸°í·Ï(Memoirs of the Author of a Vindication of the Rights of Woman)(1798)À» ¹ßÇ¥ÇÏ¿´½À´Ï´Ù.
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»ç¶ûÀÇ µµÇÇÀΰ¡, À¯ºÎ³²°úÀÇ ºÒ·ûÀΰ¡? : ¸Þ¸® ¼Ð¸®´Â ºñ´Ü ÇÁ¶ûÄ˽´Å¸ÀÎÀ̶õ Ãæ°ÝÀûÀÎ ¼Ò¼³ÀÇ ÀÛ°¡À̱â ÀÌÀü¿¡ ±×³à ÀÚ½ÅÀÇ »î ¶ÇÇÑ ·¯ºê½ºÅ丮ÀÇ ÁÖÀΰøÀ¸·Î ¼Õ»öÀÌ ¾ø´Â - µ¶ÀÚµéÀÇ ÁÖ¸ñÀ» ¹ÞÀ» ¼ö ¹Û¿¡ ¾ø´Â ¡®¹®ÇаèÀÇ ÀνΡ¯ÀÔ´Ï´Ù. 2019³â ¼Ò¼³ ÇÁ¶ûÄ˽´Å¸ÀÎÀÌ ¾Æ´Ï¶ó, ÀÛ°¡ÀÎ ±×³àÀÇ »î¿¡ ÃÊÁ¡À» ¸ÂÃá ·Î¸Çƽ ¼»ç±ØÀÌ ¾ÆÀÏ·£µå¿¡¼ Á¦À۵DZ⵵ Çß½À´Ï´Ù. ´ÙÄÚŸ Æд×ÀÇ ¿©µ¿»ý ¸Þ¸® ¿¤ Æд×(Mary Elle Fanning)ÀÌ ¸Þ¸® ¿ªÀ» ¸Ã¾Ò½À´Ï´Ù. ¸Þ¸®´Â ºÒ°ú ½Ê´ëÀÇ ³ªÀÌ·Î Èʳ¯ Á¸ Å°Ã÷(John Keats), ¹ÙÀÌ·±°ú ÇÔ²² ¿µ±¹ÀÇ 3´ë ³¶¸¸ÁÖÀÇ ½ÃÀÎÀ̶ó ºÒ¸®´Â Æ۽à ºñ½Ã ¼Ð¸®(Percy Bysshe Shelley)¿Í ¿î¸íÀûÀÎ »ç¶û¿¡ ºüÁ®µì´Ï´Ù. ±×·±µ¥, ¹®Á¦´Â ±×°¡ ÀÌ¹Ì °áÈ¥ÇÑ À¯ºÎ³²À̶õ °Í! ÁÖº¯ÀÇ ¼Õ°¡¶ôÁú¿¡µµ ºÒ±¸ÇÏ°í, ¸Þ¸®´Â ³²Ä£(¾ÆÁ÷ ³²ÆíÀº ¾Æ´Ñ) ÆÛ½Ã¿Í ÇÔ²² ¿µ±¹À» ¹þ¾î³ª À¯·´ °÷°÷À» ´©ºñ¸ç, ±ÝÁöµÇ¾î Àֱ⿡ ´õ¿í ´ÞÄÞÇÑ ¡®»ç¶ûÀÇ µµÇÇ¡¯¿¡ ºüÁ® µé¾ú½À´Ï´Ù. ´ç½ÃÀÇ °æÇèÀº À̵ëÇØ ¼Ð¸® ºÎºÎÀÇ 6ÁÖ°£ÀÇ ¿©Çà À̾߱â(History of a Six Week¡¯s Tour by Mary Wollstonecraft Shelley and Percy Bysshe Shelley)(1817)À¸·Î Ãâ°£µË´Ï´Ù.
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Æ۽à ºñ½Ã ¼Ð¸®ÀÇ ½Ã ÀüÁý(Notes to the Complete Poetical Works of Percy Bysshe Shelley)(1839) : ¸Þ¸®´Â ³²Æí Æ۽à ºñ½Ã ¼Ð¸®(Percy Bysshe Shelley)°¡ Æò»ý ¾´ ½Ã¸¦ Á¤¸®ÇØ 1839³â Æ۽à ºñ½Ã ¼Ð¸®ÀÇ ½ÃÁý ÀüÁý(Notes to the Complete Poetical Works of Percy Bysshe Shelley)À» Ãâ°£ÇÏ¿´½À´Ï´Ù. ¼Ð¸®´Â »ì¾Æ »ýÀü ±×³à°¡ ÇÁ¶ûÄ˽´Å¸ÀÎÀ» ¿Ï¼ºÇϱâ±îÁö °Ý·Á¿Í äÂïÀ» ¾Æ³¢Áö ¾Ê¾Ò°í, ±×³à ¶ÇÇÑ ÆÛ½ÃÀÇ ½Ã¿¡ ´ëÇÑ ¾ÖÁ¤À» ½ÃÁý ÀüÁý Ãâ°£À¸·Î Ç¥ÇöÇÏ¿´À¸´Ï, ÇÑ ¿©ÀÚÀÇ ¸ñ¼ûÀ» »¯Àº ½ÃÀÛÀº ±×¸® ¾Æ¸§´ä´Ù°í ÇÒ ¼ö´Â ¾ø°ÚÁö¸¸ ¹®Çа迡¼ ã¾Æ º¸±â ½±Áö ¾ÊÀº ¡®¼¼±âÀÇ Ä¿Çá¯ÀÎ °ÍÀº ºÐ¸íÇÕ´Ï´Ù.