¢º ¼Ò³×Æ®ÀÇ ¾îµÒÀÇ ¿©ÀÎ 1910(The Dark Lady of the Sonnets by George Bernard Shaw)Àº ¡®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(54¼¼)¿¡ ÁýÇÊÇÑ Äڹ̵ð ´Ü¸·±Ø(One-Act 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. Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 1,999¼±°ú ÇÔ²² ¾îÁ¦µµ, ¿À´Ãµµ, ³»Àϵµ ¸ÚÁø ¹®Çп©ÇàÀ»!
¢º Àª¸®¾ö ¼ÎÀͽºÇǾî(William Shakespeare, 1564~1616)ÀÇ »ç¸Á 300ÁÖ³â(1916) ±â³ä ÀÛÇ° : ¼Ò³×Æ®ÀÇ ¾îµÒÀÇ ¿©ÀÎ 1910(The Dark Lady of the Sonnets by George Bernard Shaw)Àº ¹ö³ªµå ¼î°¡ ¼ÎÀͽºÇÇ¾î ±¹¸³±ØÀå(Shakespeare National Theatre)À» °Ç¼³Çϱâ À§ÇØ ¼³¸³µÈ ·±´ø ¼ÎÀͽºÇÇ¾î ¿¬¸Í(London Shakespeare League)ÀÇ Ä·ÆäÀÎÀ» µ½±â À§ÇØ ÁýÇÊÇÑ ÀÛÇ°ÀÔ´Ï´Ù. ¹ø¿ÜÀûÀ¸·Î, 1913³â ºí·ëÁî¹ö¸®(Bloomsbury)¿¡ ±ØÀå ºÎÁö±îÁö È®º¸ÇÏ¿´À¸³ª, Á¦1Â÷ ¼¼°è´ëÀü(World War I, 1914~1918)ÀÇ ¹ß¹ß·Î ±ØÀå °Ç¼³Àº ÁÂÀýµÇ¾ú´Ù´Â¡¦¡¦.
¢º ÀÛÇ°ÀÇ Á¦¸ñ ¼Ò³×Æ®ÀÇ ¾îµÒÀÇ ¿©ÀÎ 1910(The Dark Lady of the Sonnets by George Bernard Shaw)¿¡ µîÀåÇÏ´Â ¾îµÒÀÇ ¿©ÀÎ(The Dark Lady)Àº ¼ÎÀͽºÇÇ¾î ¼Ò³×Æ® 127~152¹ø(Shakespeare's sonnets 127 to 15)¿¡ µîÀåÇϴ ij¸¯ÅÍ·Î ¸Ó¸®Ä«¶ô°ú ´«ÀÌ ¾îµÎ¿î »öÀ̶ó ÇÏ¿© ºÙ¿©Áø ¸íĪÀÔ´Ï´Ù. ÈÄ´ëÀÇ ¿¬±¸ÀÚµéÀº ¾îµÒÀÇ ¿©ÀÎ(The Dark Lady)ÀÇ ½ÇÁ¸¿©ºÎ¿Í À¯·ÂÇÑ Èĺ¸¿¡ ´ëÇØ ¼³¿Õ¼³·¡Çϱ⵵ ÇÏ¿´À¸¸ç ¹ö³ªµå ¼î ¶ÇÇÑ ¸Þ¸® ÇÇÆ° ¿©ÁÖÀÎ(Mistress Mary Fitton)À̶ó°í ÁÖÀåÇÏ¿´½À´Ï´Ù.
¢º How the Play came to be Written. I had better explain why, in this little piece d'occasion, written for a performance in aid of the funds of the project for establishing a National Theatre as a memorial to Shakespear, I have identified the Dark Lady with Mistress Mary Fitton. First, let me say that I do not contend that the Dark Lady was Mary Fitton, because when the case in Mary's favor (or against her, if you please to consider that the Dark Lady was no better than she ought to have been) was complete, a portrait of Mary came to light and turned out to be that of a fair lady, not of a dark one. ¢¹ ¿¬±ØÀÌ ¾î¶»°Ô ½áÁ³´Â°¡. ¼ÎÀͽºÇÇ¾î ±â³ä ±¹¸³±ØÀå °Ç¸³ ÇÁ·ÎÁ§Æ® ÀÚ±Ý Áö¿øÀ» À§ÇÑ °ø¿¬À» À§ÇØ ¾´ ÀÌ ÀÛÀº ÀÛÇ°¿¡¼ ³»°¡ ¾îµÒÀÇ ¿©ÀÎÀ» ¸Þ¸® ÇÇÆ° ¿©ÁÖÀΰú µ¿ÀϽÃÇÑ ÀÌÀ¯¸¦ ´õ Àß ¼³¸íÇؾ߰ڽÀ´Ï´Ù. ù°, ³ª´Â ¾îµÒÀÇ ¿©ÀÎ(The Dark Lady)ÀÌ ¸Þ¸® ÇÇÆ°À̾ú´Ù°í ÁÖÀåÇÏÁö ¾Ê´Â´Ù´Â Á¡À» ¸»ÇÏ°Ú½À´Ï´Ù. ¿Ö³ÄÇÏ¸é ¸Þ¸® ÇÇÆ°¿¡°Ô À¯¸®ÇÑ °æ¿ì(¶Ç´Â ¾îµÒÀÇ ¿©ÀÎÀÌ ±×³à°¡ ÀÖ¾î¾ß Çß´ø °Íº¸´Ù ³ªÀ» °ÍÀÌ ¾ø´Ù°í »ý°¢ÇÑ´Ù¸é ±×³à¿¡°Ô ºÒ¸®ÇÑ °æ¿ì)´Â ¿Ï¼ºµÈ ¸¶¸®¾ÆÀÇ ÃÊ»óÈ°¡ ¹àÇôÁ³°í, ±× »çÁøÀº ¾îµÎ¿î ¿©ÀÎÀÌ ¾Æ´Ñ ¾Æ¸§´Ù¿î ¿©ÀÎÀÇ ÃÊ»óÈÀÓÀÌ ¹àÇôÁ³½À´Ï´Ù.
¢º ÀÛÇ°¿¡¼ ÁÖÀΰø »ç³»(The Man)´Â ¿©ÀÚÄ£±¸¿ÍÀÇ ¹Ðȸ¸¦ Áñ±â±â À§ÇØ °æºñ¿ø ºñÇÇÅÍ(Beefeater guard)¸¦ ¼³µæÇϴµ¥ ¼º°øÇÕ´Ï´Ù. ¿©ÀÚÄ£±¸°¡ ¾Æ´Ñ ¿©ÀÎÀ» µÎ¸®¹ø°Å¸®´ø »ç³»´Â ¾îµÒÀÇ ¿©ÀÎ(The Dark Lady), ±× ¿©ÀÎ(The Lady)ÀÌ ¼Ó¼Ó µîÀåÇÏ¸é¼ ±ô¦ ³î¶óÁö ¾ÊÀ» ¼ö ¾ø¾ú½À´Ï´Ù. ±× ¿©ÀÎ(The Lady)ÀÇ Á¤Ã¼°¡ ¿¤¸®ÀÚº£½º ¿©¿ÕÀ̶ó´Â °ÍÀ» ¾Ë°Ô µÈ ¼ø°£ »ç³»(The Man) ¶ÇÇÑ ÀÚ½ÅÀÌ ¼ÎÀͽºÇǾîÀÓÀ» ¹âÈú ¼ö¹Û¿¡ ¾ø¾ú½À´Ï´Ù. ¿©¿ÕÀ» ¸¸³ ¼ÎÀͽºÇǾî´Â ¿µ±¹ÀÎÀ» À§ÇØ ±¹¸³±ØÀåÀ» ¸¸µé¾î´Þ¶ó°í È£¼ÒÇϴµ¥, ±×³à´Â ³»½É À繫Àå°üÀÇ ¹Ý´ë·Î ÇâÈÄ 300³â À̳»¿¡´Â ¾î·Á¿ï °ÍÀ̶ó°í »ý°¢ÇÕ´Ï´Ù. °ú¿¬ ¼ÎÀͽºÇǾî´Â ÀÚ½ÅÀÇ Æò»ý ¼Ò¿øÀÎ ±¹¸³±ØÀåÀ» ¸¸µå´Âµ¥ ¼º°øÇÒ ¼ö ÀÖÀ»±î¿ä?
¢º SHAKESPEAR. Madam: these are the adventures of needy and desperate men that must, to save themselves from perishing of want, give the sillier sort of people what they best like; and what they best like, God knows, is not their own betterment and instruction, as we well see by the example of the churches, which must needs compel men to frequent them, though they be open to all without charge. ¢¹ ¼ÎÀͽºÇǾî. ºÎÀÎ: ÀÌ°ÍÀº ±ÃÇÌÀ¸·Î ¸ê¸ÁÇÏ´Â ÀϷκÎÅÍ ÀÚ½ÅÀ» ±¸Çϱâ À§ÇØ ´õ ¾î¸®¼®Àº »ç¶÷µé¿¡°Ô ±×µéÀÌ °¡Àå ÁÁ¾ÆÇÏ´Â °ÍÀ» ÁÖ¾î¾ß ÇÏ´Â ±ÃÇÌÇÏ°í Àý¹ÚÇÑ »ç¶÷µéÀÇ ¸ðÇèÀÔ´Ï´Ù. ±×¸®°í ±×µéÀÌ °¡Àå ÁÁ¾ÆÇÏ´Â °ÍÀº ±×µé ÀÚ½ÅÀÇ °³¼±À̳ª ±³À°ÀÌ ¾Æ´Ï¶ó´Â °ÍÀ» Çϳª´Ô²²¼´Â ¾Æ½Ê´Ï´Ù. ±³È¸ÀÇ ¿¹¿¡¼ ¿ì¸®°¡ Àß ¾Ë ¼ö ÀÖµíÀÌ ±³È¸´Â ¸ðµç »ç¶÷¿¡°Ô ¹«·á·Î °ø°³µÇÁö¸¸ »ç¶÷µéÀÌ ÀÚÁÖ ¹æ¹®Çϵµ·Ï °¿äÇØ¾ß ÇÕ´Ï´Ù.
¢º ELIZABETH. Master Shakespear: you speak sooth; yet cannot I in any wise mend it. I dare not offend my unruly Puritans by making so lewd a place as the playhouse a public charge; and there be a thousand things to be done in this London of mine before your poetry can have its penny from the general purse. I tell thee, Master Will, it will be three hundred years and more before my subjects learn that man cannot live by bread alone, but by every word that cometh from the mouth of those whom God inspires. By that time you and I will be dust beneath the feet of the horses, if indeed there be any horses then, and men be still riding instead of flying. Now it may be that by then your works will be dust also. ¢¹ ¿¤¸®ÀÚº£½º. ¼ÎÀͽºÇÇ¾î ¼±»ý´Ô: ÁøÁ¤ ¸»¾¸ÇϽó׿ä. ±×·¯³ª ³ª´Â ¾î¶² ½ÄÀ¸·Îµç ±×°ÍÀ» °íÄ¥ ¼ö ¾ø½À´Ï´Ù. ³ª´Â ±ØÀå°ú °°Àº À½¶õÇÑ Àå¼Ò¸¦ °ø°ø¿ä±ÝÀ¸·Î ¸¸µé¾î ³ªÀÇ ¹«Áú¼ÇÑ Ã»±³µµµéÀ» °¨È÷ ȳª°Ô ÇÒ ¼ö ¾ø½À´Ï´Ù. ±×¸®°í ´ç½ÅÀÇ ½Ã°¡ ÀÏ¹Ý Áö°©¿¡¼ µ·À» ¹ú±â Àü¿¡ ÀÌ ·±´ø¿¡¼ ÇØ¾ß ÇÒ ÀÏÀÌ Ãµ °¡Áö³ª µË´Ï´Ù. ¸¶½ºÅÍ Àª, Àΰ£ÀÌ »§¸¸À¸·Î »ì ¼ö ¾ø°í ÇÏ´À´Ô²²¼ ¿µ°¨À» Áֽô »ç¶÷µéÀÇ ÀÔ¿¡¼ ³ª¿À´Â ¸ðµç ¸»¾¸À¸·Î »ì ¼ö ÀÖ´Ù´Â »ç½ÇÀ» ³» ½ÅÇϵéÀÌ ¹è¿ì·Á¸é 300³â ÀÌ»óÀÌ °É¸± °ÍÀÔ´Ï´Ù. ±×¶§ÂëÀÌ¸é ´ç½Å°ú ³ª´Â ¸» ¹ß ¹ØÀÇ ¸ÕÁö°¡ µÉ °ÍÀÔ´Ï´Ù. ¸¸¾à ½ÇÁ¦·Î ¸»ÀÌ ÀÖ´Ù¸é, »ç¶÷µéÀº ³¯Áö ¾Ê°í ¿©ÀüÈ÷ Ÿ°í ÀÖÀ» °ÍÀÔ´Ï´Ù. ÀÌÁ¦ ±×¶§ÂëÀÌ¸é ´ç½ÅÀÇ ÇàÀ§µµ ¸ÕÁö°¡ µÉ °ÍÀÔ´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°íÀü1,189 Á¶Áö ¹ö³ªµå ¼îÀÇ ¼Ò³×Æ®ÀÇ ¾îµÒÀÇ ¿©ÀÎ 1910(English Classics1,189 The Dark Lady of the Sonnets by George Bernard Shaw)
THE DARK LADY OF THE SONNETS
¢¹ PREFACE TO THE DARK LADY OF THE SONNETS
How the Play came to be Written
Thomas Tyler
Frank Harris
Harris "durch Mitleid wissend"
"Sidney's Sister: Pembroke's Mother"
Shakespear's Social Standing
This Side Idolatry
Shakespear's Pessimism
Gaiety of Genius
Jupiter and Semele
The Idol of the Bardolaters
Shakespear's alleged Sycophancy and Perversion
Shakespear and Democracy
Shakespear and the British Public
¢¹ THE DARK LADY OF THE SONNETS
¢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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