¢º ºê¶ó½º¹Ù¿îµå ¼±ÀåÀÇ °³Á¾ 1899(Captain Brassbound's Conversion by George Bernard Shaw)´Â ¡®¼ÎÀͽºÇǾî ÀÌÈÄ ÃÖ°íÀÇ ±ØÀÛ°¡(The Greatest Playwright after Shakespeare)¡¯·Î Ãß¾Ó¹Þ´Â 19¼¼±â ¿µ±¹ ±ØÀÛ°¡ Á¶Áö ¹ö³ªµå ¼î(George Bernard Shaw, 1856~1950)°¡ DzDzÇÑ Ã»³â ½ÃÀý(1879~1883)À» Áö³ª ÇÑÃþ ¿ø¼÷ÇÑ ³ªÀÌ(43¼¼)¿¡ ÁýÇÊÇÑ 3¸·(Act I.~Act III.)ÀÇ Èñ°î(ýôÍØ, Play)ÀÔ´Ï´Ù. ¹ö³ªµå ¼îÀÇ ´ëÇ¥ÀÛÀº ´Ü¿¬ Èñ°î(ýôÍØ, Play)ÀÏ °ÍÀ̳ª, °æ·Â ÃÊâ±â¿¡´Â ´Ù¼¸ ±ÇÀÇ ¼Ò¼³(Five Novels Early in His Career)À» ºñ·ÔÇØ Á¤Ä¡, µå¶ó¸¶ ºñÆò(Politics, Drama Criticism) µî ´Ù¾çÇÑ ºÐ¾ßÀÇ ±ÛÀ» ¿Õ¼ºÇÏ°Ô ÁýÇÊÇÑ ¹Ù ÀÖ½À´Ï´Ù.
¢º 1900³â ½ºÆ®·£µå ¾¾¾îÅÍ(Strand Theatre)¿¡¼ ÃÊ¿¬À» ¿Ã·ÈÀ¸¸ç, 1902³â ¸Çü½ºÅÍ Äý½º ¾¾¾îÅÍ(Queen's Theatre), 1953³â ºê¸®Æ¼½Ã TV(British TV), 1971³â ºê¶óÀÌÆ°ÀÇ ´õ ¾¾¾îÅÍ ·Î¾â(The Theatre Royal) µî¿¡¼µµ ´ëÁߵ鿡°Ô ¼±º¸ÀÎ ¹Ù ÀÖ½À´Ï´Ù. û±³µµ¸¦ À§ÇÑ ¼¼ ÆíÀÇ Èñ°î(Three Plays for Puritans, 1901)¿¡ Æ÷ÇÔµÈ ¼¼ ÆíÀÇ ÀÛÇ°(The Devil's Disciple 1897, Caesar and Cleopatra 1898, Captain Brassbound's Conversion 1900) Áß ÇϳªÀÔ´Ï´Ù. Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 1,999¼±°ú ÇÔ²² ¾îÁ¦µµ, ¿À´Ãµµ, ³»Àϵµ ¸ÚÁø ¹®Çп©ÇàÀ»!
¢º Á¦1¸·(ACT I)ÀÇ ¹è°æÀº ¸ð·ÎÄÚ ¸ð°¡µµ¸£(Mogador, Morocco). ÆÇ»ç ÇÏ¿öµå ÇÒ¶÷ °æ(Sir Howard Hallam)Àº Àú¸íÇÑ Å½Çè°¡ÀÌÀÚ Ã³Á¦(his sister-in-law)ÀÎ ½Ã½½¸® ¿þÀÎÇø®Æ® ºÎÀÎ(Lady Cicely Waynflete)°ú ÇÔ²² Àå·Î±³ ¸ñ»ç ¶ûŲ(Rankin)ÀÇ Áý¿¡ ¸Ó¹°°í ÀÖ½À´Ï´Ù. ÇÏ¿öµå °æÀº ºê¶óÁú·Î ÀÌÁÖÇÑ ÇüÁ¦ ¸¶ÀϽº ÇÒ¶÷(Miles Hallam)ÀÇ Àç»êÀ» ȸ¼öÇϴµ¥ ¼º°øÇÏ¿´°í, ³Ë³ËÇÑ Àç»êÀ» ¹ÙÅÁÀ¸·Î ¶°³ª´Â ¸ð·ÎÄÚ ¿©Çà¿¡ ½Ã½½¸® ¶ÇÇÑ µ¿ÇàÇÕ´Ï´Ù. ±×µéÀº ¹«Àå È£À§°¡ Á¦°øµÇ´Â ¼±¹Ú Ãß¼ö°¨»çÀý(Thanksgiving)¿¡ ¿Ã¶óŸ´Âµ¥, ÀÌ ¹èÀÇ ¼±ÀåÀÌ ¹Ù·Î ºê¶ó½º¹Ù¿îµå(Captain Brassbound)! ¼±ÀåÀº ±â¹¦ÇÑ Á¶ÇÕÀÇ ¼Õ´Ôµé¿¡°Ô ÀÌ Áö¿ª(the mountain-country)ÀÇ Á¤ÀÇ´Â ¹ý¿ø(law courts)ÀÌ ¾Æ´Ñ, ¸í¿¹ ±ÔÁ¤(by codes of honour)¿¡ ÀÇÇØ Áö¹èµÈ´Ù´Â °æ°í¸¦ º¸³»´Âµ¥¡¦¡¦. °ú¿¬ ±×µéÀÇ Ç×ÇØ¿¡´Â ¾î¶² ¸ðÇè°ú ¿¹ÃøÇÒ ¼ö ¾ø´Â »ç°Ç»ç°í°¡ ±â´Ù¸®°í ÀÖÀ» °ÍÀΰ¡!
¢º ACT I. On the heights overlooking the harbor of Mogador, a seaport on the west coast of Morocco, the missionary, in the coolness of the late afternoon, is following the precept of Voltaire by cultivating his garden. He is an elderly Scotchman, spiritually a little weatherbeaten, as having to navigate his creed in strange waters crowded with other craft but still a convinced son of the Free Church and the North African Mission, with a faithful brown eye, and a peaceful soul. ¢¹ Á¦1¸·. ¼±±³»ç´Â ¸ð·ÎÄÚ ¼ÇؾÈÀÇ Ç×±¸ÀÎ ¸ð°¡µµ¸£(Mogador) Ç×±¸°¡ ³»·Á´Ùº¸ÀÌ´Â ³ôÀº °÷¿¡¼ ´ÊÀº ¿ÀÈÄÀÇ ¼´ÃÇÑ ³¯¾¾ ¼Ó¿¡¼ º¼Å׸£ÀÇ °¡¸£Ä§¿¡ µû¶ó Á¤¿øÀ» °¡²Ù°í ÀÖ½À´Ï´Ù. ±×´Â ´Ù¸¥ ¼±¹Úµé·Î ºÕºñ´Â ÀÌ»óÇÑ ¹Ù´Ù¿¡¼ ÀÚ½ÅÀÇ ½ÅÁ¶¸¦ Ž»öÇØ¾ß Çϱ⠶§¹®¿¡ ¿µÀûÀ¸·Î ¾à°£ ºñ¹Ù¶÷¿¡ ½Ã´Þ¸° ³ªÀÌµç ½ºÄÚƲ·£µå »ç¶÷ÀÔ´Ï´Ù. ±×·¯³ª ¿©ÀüÈ÷ ½Å½ÇÇÑ °¥»ö ´«°ú ÆòÈ·Î¿î ¿µÈ¥À» °¡Áø ÀÚÀ¯ ±³È¸¿Í ºÏ¾ÆÇÁ¸®Ä« ¼±±³ÀÇ È®½Å¿¡ Âù ¾ÆµéÀÔ´Ï´Ù.
¢º Á¦2¸·(ACT II)Àº ºê¶ó½º¹Ù¿îµå ¼±ÀåÀÌ Á¡·ÉÇÑ ¹«¾î ¼º(A Moorish castle)¿¡¼ ÆîÃÄÁý´Ï´Ù. ºê¶ó½º¹Ù¿îµå ¼±ÀåÀº ÀÚ½ÅÀÌ ¸¶ÀϽº ÇÒ¶÷(Miles Hallam)ÀÇ ¾Æµé·Î½á ±×ÀÇ »ó¼Ó Àç»ê¿¡ ´ëÇÑ ±Ç¸®¸¦ ÁÖÀåÇÕ´Ï´Ù. ÀÚ½ÅÀ» ±³¹¦ÇÏ°Ô ¼ÓÀÎ ÇÏ¿öµå °æÀ» ±¤½ÅÀûÀÎ À̽½¶÷ÁÖÀÇÀÚ ¼ÎÀÌÅ©(fanatical Islamist Sheik)¿¡°Ô ³Ñ±ä ºê¶ó½º¹Ù¿îµå´Â ÀÌ·Î½á ¾Æ¹öÁö¿Í ÀÚ½ÅÀÇ ¿øÇÑÀ» Ç®°Ô µË´Ï´Ù. ±×·¯³ª 2¸·ÀÇ ¸»¹Ì¿¡ µîÀåÇÑ Áö¿ª ÅëÄ¡ÀÚ(the local ruler)´Â º¹¼öÀÇ ½Ã°è¸¦ ´Ù½Ã °Å²Ù·Î µ¹¸®°í¾ß ¸¶´Âµ¥...?!
¢º ACT II. Midday. A roam in a Moorish castle. A divan seat runs round the dilapidated adobe walls, which are partly painted, partly faced with white tiles patterned in green and yellow. The ceiling is made up of little squares, painted in bright colors, with gilded edges, and ornamented with gilt knobs. On the cement floor are mattings, sheepskins, and leathern cushions with geometrical patterns on them. ¢¹ Á¦2¸·. ´ë³·. ¹«¾î ¼ºÀÇ ·Î¹Ö. ºÎºÐÀûÀ¸·Î´Â Ä¥ÇØÁ® ÀÖ°í ºÎºÐÀûÀ¸·Î´Â ³ì»ö°ú ³ë¶õ»ö ¹«´Ì°¡ ÀÖ´Â Èò»ö ŸÀÏ·Î ¸¶°¨µÈ ³°Àº ¾îµµºñ º® ÁÖÀ§¿¡´Â ¼ÒÆÄ ÀÇÀÚ°¡ ³õ¿© ÀÖ½À´Ï´Ù. õÀåÀº ÀÛÀº Á¤»ç°¢ÇüÀ¸·Î ±¸¼ºµÇ¾î ÀÖÀ¸¸ç ¹àÀº »ö»óÀ¸·Î Ä¥ÇØÁ® ÀÖ°í °¡ÀåÀÚ¸®´Â ±Ý¹ÚÀ¸·Î Àå½ÄµÇ¾î ÀÖÀ¸¸ç ±Ý¹Ú ¼ÕÀâÀÌ·Î Àå½ÄµÇ¾î ÀÖ½À´Ï´Ù. ½Ã¸àÆ® ¹Ù´Ú¿¡´Â ±âÇÏÇÐÀû ¹«´Ì°¡ »õ°ÜÁø ¸ÅÆ®, ¾ç°¡Á×, °¡Á× Äí¼ÇÀÌ ±ò·Á ÀÖ½À´Ï´Ù.
¢º Á¦3¸·(ACT III)Àº ºê¶ó½º¹Ù¿îµåÀÇ ¹üÁ˸¦ ¹àÈ÷´Â Á¶»ç ¹ý¿ø(court of inquiry)¿¡¼ ½ÃÀ۵˴ϴÙ. ½Ã½½¸®ÀÇ Çå½ÅÀûÀÎ º¯È£¸¦ ÅëÇØ Å°¾î´Ï »ç·É°ü(Commander Kearney) ¶ÇÇÑ ºê¶ó½º¹Ù¿îµåÀÇ ¹«ÁË ¹æ¸éÀ» ½ÂÀÎÇÏ¿´°í, ÇعæµÈ ºê¶ó½º¹Ù¿îµå´Â ½Ã½½¸®¿¡°Ô »ç¶ûÀ» °í¹éÇÕ´Ï´Ù. ±×³à°¡ ºê¶ó½º¹Ù¿îµåÀÇ °í¹é¿¡ ´äº¯ÇÏ·Á´Â ¹Ù·Î ±× ¼ø°£!! ¼±¹Ú Ãß¼ö°¨»çÀý(Thanksgiving)ÀÌ Ãâ¹ßÇÔÀ» ¾Ë¸®´Â ÃѼҸ®°¡ µé·Á¿À°í, ºê¶ó½º¹Ù¿îµå´Â ¹Ì·Ã ¾øÀÌ ¹è¸¦ ÇâÇØ ¶°³ª ¹ö¸³´Ï´Ù. Á¹Áö¿¡ È¥ÀÚ°¡ µÇ¾î¹ö¸° ½Ã½½¸®´Â...?!
¢º ACT III. Torrid forenoon filtered through small Moorish windows high up in the adobe walls of the largest room in Leslie Rankin's house. A clean cool room, with the table (a Christian article) set in the middle, a presidentially elbowed chair behind it, and an inkstand and paper ready for the sitter. A couple of cheap American chairs right and left of the table, facing the same way as the presidential chair, give a judicial aspect to the arrangement. Rankin is placing a little tray with a jug and some glasses near the inkstand when Lady Cicely's voice is heard at the door, which is behind him in the corner to his right. ¢¹ Á¦3¸·. ¶ß°Å¿î ¿ÀÀüÀº ·¹½½¸® ¶ûŲÀÇ Áý¿¡¼ °¡Àå Å« ¹æÀÇ ¾îµµºñ º® ³ôÀÌ¿¡ ÀÖ´Â ÀÛÀº ¹«¾î½Ä â¹®À» ÅëÇØ µé¾î¿Ô½À´Ï´Ù. ±ú²ýÇÏ°í ¼´ÃÇÑ ¹æ, Áß¾Ó¿¡ ŹÀÚ(±âµ¶±³ ¿ëÇ°)°¡ ³õ¿© ÀÖ°í, ±× µÚ¿¡ ´ëÅë·É¿ë ÆȲÞÄ¡°¡ ´Þ¸° ÀÇÀÚ°¡ ÀÖÀ¸¸ç, ½ÃÅ͸¦ À§ÇØ À×Å©º´°ú Á¾ÀÌ°¡ ÁغñµÇ¾î ÀÖ½À´Ï´Ù. Å×À̺í Á¿쿡´Â °ª½Ñ ¹Ì±¹½Ä ÀÇÀÚ µÎ °³°¡ ´ëÅë·É ÀÇÀÚ¿Í °°Àº ¹æÇâÀ» ¹Ù¶óº¸°í ÀÖ¾î ¹èÄ¡¿¡ »ç¹ýÀû Ãø¸éÀ» ´õÇØÁÝ´Ï´Ù. ¶ûŲÀÌ À×Å©º´ ±Ùó¿¡ ÀÛÀº Àï¹Ý°ú ¹°º´°ú ÀÜ ¸î °³¸¦ ³õ°í Àִµ¥, ±×ÀÇ µÚÂÊ ¿À¸¥ÂÊ ±¸¼®¿¡ ÀÖ´Â ¹®¿¡¼ ½Ã½½¸® ºÎÀÎÀÇ ¸ñ¼Ò¸®°¡ µé¸³´Ï´Ù.
-¸ñÂ÷(Index)-
¢º ÇÁ·Ñ·Î±×(Prologue). Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 1,999¼±À» Àоî¾ß ÇÏ´Â 7°¡Áö ÀÌÀ¯
¢º 20°¡Áö Å°¿öµå·Î Àд Á¶Áö ¹ö³ªµå ¼î(George Bernard Shaw, 1856~1950)
01. Á¶Áö ¹ö³ªµå ¼î(George Bernard Shaw, 1856~1950)°¡ Á¶Áö(George)°¡ ¾Æ´Ï¶ó, G¶ó°í ¼¸íÇÑ ÀÌÀ¯´Â?
02. ÆäÀ̺ñ¾ð Çùȸ(Fabian Society, 1884~)ÀÇ ÆäÀ̺ñ¾ð »çȸÁÖÀÇÀÚ(Fabian Socialist)
03. ÇDZ׸»¸®¿Â(Pygmalion, 1913) : Á¶°¢°¡ ÇDZ׸»¸®¿ÂÀÌ ¿©¼ºÀ» Çø¿ÀÇÑ ÀÌÀ¯´Â?
03-1. ¿Àºñµð¿ì½º(Publius Ovidius Naso, BC 43~AD 17)ÀÇ º¯½Å À̾߱â(The Metamorphoses, AD 8)
03-2. ÇDZ׸»¸®¿Â È¿°ú(Pygmalion Effect) VS °ñ·½ È¿°ú(Golem Effect)
03-3. ¿Àµå¸® Çñ¹ø(Audrey Hepburn)ÀÇ ¸¶ÀÌ Æä¾î ·¹À̵ð(My Fair Lady, 1964)
03-4. À¢µð ¹«¾î(Wendy Moore)ÀÇ ¿Ïº®ÇÑ ¾Æ³» ¸¸µé±â(How to Create the Perfect Wife, 2013)
03-5. ÇDZ׸»¸®¿Â(Pygmalion, 1913)À» ±×¸° È°¡µé
04. ¹ÇµÎ¼¿¶ó ÁõÈıº(Methuselah Syndrome)
05. ¹ö³ªµå ¼î°¡ ³ëº§¹®Çлó(The Nobel Prize in Literature, 1925)Àº ¹ÞµÇ, »ó±ÝÀº °ÅºÎÇÑ ÀÌÀ¯´Â?!
05-1. ¾ÆÀÏ·£µå Ãâ½ÅÀÇ ³ëº§¹®Çлó ¼ö»óÀÛ°¡(Irish Nobel Prize-Winning Author)°¡ ¹«·Á ³Ý?!
05-2. ³ëº§¹®Çлó(1925)°ú ¿À½ºÄ«»ó(1939)À» µÑ ´Ù ¼ö»óÇÑ Áö±¸»ó À¯ÀÏÇÑ ÀÛ°¡(1939~2016)
06. ¼ÎÀͽºÇǾî(William Shakespeare, 1564~1616) VS Á¶Áö ¹ö³ªµå ¼î(George Bernard Shaw, 1856~1950)
07. ¿À¿ªÀ¸·Î ´õ¿í À¯¸íÇØÁø À¯¾ð(1950) : ¿ì¹°ÂÞ¹°ÇÏ´Ù°¡ ³» ÀÌ·² ÁÙ ¾Ë¾ÒÁö
08. ¼ö¸¹Àº ¾î·ÏÀ» ³²±ä ½Å¶öÇÑ ºñÆò°¡(Vitriolic Critic)ÀÌÀÚ À¯¸Ó·¯½ºÇÑ Ç³ÀÚ°¡(Witty Satirist)
09. õ¿¬µÎ ¹é½ÅÀ» ¸Â¾ÒÀ¸³ª, õ¿¬µÎ¿¡ °É¸° ¹é½Å¹Ý´ë·ÐÀÚ(Anti-Vaccinationist)
10. Á¶Áö ¹ö³ªµå ¼î¸¦ ¸¸³¯ ¼ö ÀÖ´Â Àå¼Ò TOP10(10 Places to meet George Bernard Shaw)
11. Á¶Áö ¹ö³ªµå ¼î ¿øÀÛÀÇ ¿µÈ¡¤µå¶ó¸¶(Movie and Drama of George Bernard Shaw in IMDb and Wikipedia)
12. ¿Àµð¿ÀºÏÀ¸·Î µè´Â Á¶Áö ¹ö³ªµå ¼î(Audio Books of George Bernard Shaw)
13. Á¶Áö ¹ö³ªµå ¼î ¾î·Ï 161¼±(161 Quotes of George Bernard Shaw)
¢º ¿µ¾î°íÀü1,174 Á¶Áö ¹ö³ªµå ¼îÀÇ ºê¶ó½º¹Ù¿îµå ¼±ÀåÀÇ °³Á¾ 1899(English Classics1,174 Captain Brassbound's Conversion by George Bernard Shaw)
Act I.
Act II.
Act III.
Notes To Captain Brassbound's Conversion
¢º 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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