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¢º À§´ëÇÑ Ä³¼­¸°(¿µ±¤ÀÌ ¿©ÀüÈ÷ »ç¶ûÇϽô ºÐ) 1913{Great Catherine(Whom Glory Still Adores) 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(56¼¼)¿¡ ÁýÇÊÇÑ 4¸·(Act 1.~Act 4.)ÀÇ Èñ°î(ýôÍØ, Play)ÀÔ´Ï´Ù. 1913³â ·±´ø ¿þ½ºÆ®¿£µåÀÇ º¸µåºô ±ØÀå(Vaudeville Theatre)¿¡¼­ ÃÊ¿¬À» ¿Ã·ÈÀ¸¸ç, Á¦1Â÷ ¼¼°è´ëÀü(World War I, 1914~1918) ÁßÀÎ 1916³â ¹Ì±¹ ¼øȸ°ø¿¬¿¡ ¼º°øÇÏ¿´½À´Ï´Ù. ÀÌÈÄ 1948³â, 1953³â, 1968³â TV µå¶ó¸¶ µîÀ¸·Î ¿µ»óÈ­µÇ´Âµ¥ ¼º°øÇÏ¿´À¸³ª, Æò·ÐÀ¸·ÎºÎÅÏ ½â ³ôÀº Æò°¡¸¦ ¹ÞÁö ¸øÇß½À´Ï´Ù. ¢¹ 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 ÀÛÇ°ÀÇ Á¦¸ñÀÎ À§´ëÇÑ Ä³¼­¸°(Catherine the Great, Catherine II, 1729~1796)Àº ·¯½Ã¾Æ Á¦±¹ÀÇ È²ÈÄÀÌÀÚ ¿©Á¦·Î, ¹ö³ªµå ¼î´Â ±×³àÀÇ ÅëÄ¡ ±â°£(1762~1796) »óÆ®ÆäÅ׸£ºÎ¸£Å©ÀÇ ·¯½Ã¾Æ Á¦±¹ ±ÃÁ¤(the Imperial Russian court in Saint Petersburg)¿¡ ¹èÄ¡µÈ ¿µ±¹±º ¹«°ü Âû½º ¿¡µå½ºÅ¸½ºÅÏ ´ëÀ§(Captain Charles Edstaston)¸¦ ÁÖÀΰøÀ¸·Î ³»¼¼¿ü½À´Ï´Ù. ·¯½Ã¾Æ Á¦±¹ ±ÃÁ¤À» ¹è°æÀ¸·Î ±×ÀÇ ¾àÈ¥ÀÚ Å¬·¹¾î(Claire), ±«ÆÅÇÑ ¼º°ÝÀÇ ÆÄƼ¿ÈŲ ¿ÕÀÚ(Prince Patiomkin)¸¦ ºñ·ÔÇØ ¿¹Ä«Å׸®³ª 2¼¼(¬¦¬Ü¬Ñ¬ä¬Ö¬â¬Ú¬ß¬Ñ II)±îÁö, °ú¿¬ ±×µéÀº ¾î¶² ºñ¹Ð½º·± À½¸ð¿Í ±ÃÁ¤ Á¤Ä¡¿¡ ÈÖ¸»¸±±î¿ä?

¢º THE AUTHOR'S APOLOGY FOR GREAT CATHERINE. Exception has been taken to the title of this seeming tomfoolery on the ground that the Catherine it represents is not Great Catherine, but the Catherine whose gallantries provide some of the lightest pages of modern history. Great Catherine, it is said, was the Catherine whose diplomacy, whose campaigns and conquests, whose plans of Liberal reform, whose correspondence with Grimm and Voltaire enabled her to cut such a magnificent figure in the eighteenth century. ¢¹ À§´ëÇÑ Ä³¼­¸°¿¡ ´ëÇÑ ÀÛ°¡ÀÇ »ç°ú. ÀÌ°ÍÀÌ ³ªÅ¸³»´Â ij¼­¸°ÀÌ À§´ëÇÑ Ä³¼­¸°ÀÌ ¾Æ´Ï¶ó Çö´ë ¿ª»çÀÇ °¡Àå °¡º­¿î ÆäÀÌÁö Áß ÀϺθ¦ Á¦°øÇÏ´Â ¿ë°¨ÇÑ Ä³¼­¸°À̶ó´Â ÀÌÀ¯·Î ÀÌ °Ñº¸±â ¾î¸®¼®Àº Á¦¸ñ¿¡´Â ¿¹¿Ü°¡ Àû¿ëµÇ¾ú½À´Ï´Ù. À§´ëÇÑ Ä³¼­¸°Àº ¿Ü±³, Ä·ÆäÀÎ ¹× Á¤º¹, ÀÚÀ¯ÁÖÀÇ °³Çõ °èȹ, ±×¸² ¹× º¼Å׸£¿ÍÀÇ ¼­½ÅÀ» ÅëÇØ 18¼¼±â¿¡ ±×Åä·Ï À§´ëÇÑ Àι°À» ź»ý½Ãų ¼ö ÀÖ¾ú´ø ij¼­¸°À̶ó°í ÇÕ´Ï´Ù.

¢º It is also to be considered that great plays live longer than great actors, though little plays do not live nearly so long as the worst of their exponents. The consequence is that the great actor, instead of putting pressure on contemporary authors to supply him with heroic parts, falls back on the Shakespearean repertory, and takes what he needs from a dead hand. ¢¹ ÈǸ¢ÇÑ ¿¬±ØÀº À§´ëÇÑ ¹è¿ìº¸´Ù ¿À·¡ »ê´Ù´Â Á¡µµ °í·ÁÇØ¾ß ÇÏÁö¸¸, ÀÛÀº ¿¬±ØÀº ÃÖ¾ÇÀÇ ¿¬±Ø¸¸Å­ ¿À·¡ »ìÁö´Â ¸øÇÕ´Ï´Ù. ±× °á°ú À§´ëÇÑ ¹è¿ì´Â Çö´ë ÀÛ°¡µé¿¡°Ô ¿µ¿õÀûÀÎ ¿ªÇÒÀ» Á¦°øÇϵµ·Ï ¾Ð·ÂÀ» °¡ÇÏ´Â ´ë½Å ¼ÎÀͽºÇÇ¾î ·¹ÆÛÅ丮·Î µ¹¾Æ°¡ Àڽſ¡°Ô ÇÊ¿äÇÑ °ÍÀ» ¹«ÀÚºñÇÏ°Ô »©¾Ñ°Ô µË´Ï´Ù.

¢º It is not the whole truth that if we take care of the actors the plays will take care of themselves; nor is it any truer that if we take care of the plays the actors will take care of themselves. There is both give and take in the business. I have seen plays written for actors that made me exclaim, "How oft the sight of means to do ill deeds makes deeds ill done!" ¢¹ ¿ì¸®°¡ ¹è¿ìµéÀ» µ¹º¸¸é ¿¬±ØÀÌ ½º½º·Î¸¦ µ¹º¼ °ÍÀ̶ó´Â °ÍÀº Áø½ÇÀÌ ¾Æ´Õ´Ï´Ù. ¿ì¸®°¡ ¿¬±ØÀ» µ¹º¸¸é ¹è¿ìµéÀÌ ½º½º·Î¸¦ µ¹º¼ °ÍÀ̶ó´Â ¸»Àº ´õ ÀÌ»ó »ç½ÇÀÌ ¾Æ´Õ´Ï´Ù. »ç¾÷¿¡´Â ÁÖ°í¹Þ´Â °ÍÀÌ ÀÖ½À´Ï´Ù. ³ª´Â ¹è¿ìµéÀ» À§ÇØ ¾²ÀÎ Èñ°îÀÌ "¾ÇÇÑ ÇàÀ§¸¦ ÇÏ´Â ¼ö´ÜÀ» º¸´Â °ÍÀÌ ¾ó¸¶³ª ÀÚÁÖ ³ª»Û ÇàÀ§¸¦ ÇÏ°Ô ¸¸µå´Â°¡! "¶ó°í ¿ÜÄ¡´Â °ÍÀ» º» ÀûÀÌ ÀÖ½À´Ï´Ù.

¢º Anyhow, whether he had the wit to utter it or not, the boast would have been a valid one. The best conclusion is that every actor should say, "If I create the hero in myself, God will send an author to write his part." For in the long run the actors will get the authors, and the authors the actors, they deserve. ¢¹ ¾î·µç, ±×°¡ ±×°ÍÀ» ¸»ÇÒ ÀçÄ¡°¡ ÀÖµç ¾øµç, ±× ÀÚ¶ûÀº Ÿ´çÇßÀ» °ÍÀÔ´Ï´Ù. °¡Àå ÁÁÀº °á·ÐÀº ¸ðµç ¹è¿ì°¡ "³»°¡ ³ª Àڽſ¡°Ô¼­ ¿µ¿õÀ» âÁ¶ÇÑ´Ù¸é ½ÅÀº ±×ÀÇ ¹è¿ªÀ» ¾µ ÀÛ°¡¸¦ º¸³»½Ç °ÍÀÌ´Ù"¶ó°í ¸»ÇØ¾ß ÇÑ´Ù´Â °ÍÀÔ´Ï´Ù. Àå±âÀûÀ¸·Î ¹è¿ìµéÀº ÀÛ°¡¸¦ ¾ò°Ô µÇ°í, ÀÛ°¡´Â ¹è¿ì¸¦ ¾ò°Ô µÉ °ÍÀ̱⠶§¹®ÀÔ´Ï´Ù.

¢º THE FIRST SCENE. 1776. Patiomkin in his bureau in the Winter Palace, St. Petersburgh. Huge palatial apartment: style, Russia in the eighteenth century imitating the Versailles du Roi Soleil. Extravagant luxury. Also dirt and disorder. Patiomkin, gigantic in stature and build, his face marred by the loss of one eye and a marked squint in the other, sits at the end of a table littered with papers and the remains of three or four successive breakfasts. ¢¹ ù ¹ø° Àå¸é. 1776. »óÆ®ÆäÅ׸£ºÎ¸£Å© °Ü¿ï±ÃÀüÀÇ ±¹¿¡ ÀÖ´Â ÆÄƼ¿ÈŲ. °Å´ëÇÑ ±ÃÀü ¾ÆÆÄÆ®: º£¸£»çÀ¯ µÚ ¿ÕÀÇ Å¾çÀ» ¸ð¹æÇÑ 18¼¼±â ·¯½Ã¾Æ ½ºÅ¸ÀÏ. »çÄ¡½º·¯¿î ·°¼Å¸®. ¶ÇÇÑ ´õ·¯¿ò°ú ¹«Áú¼­. Å°¿Í ü°ÝÀÌ °Å´ëÇÑ ÆÄƼ¿ÈŲÀº ÇÑÂÊ ´«À» ÀÒ°í ´Ù¸¥ ÂÊ ´«Àº ´«À» °¡´Ã°Ô ¶ß°í ¾ó±¼À» Âô±×¸° ä Á¾ÀÌ¿Í ¼­³Ê ¹øÀÇ ¿¬¼Ó ¾Æħ ½Ä»ç ÀÜÇØ°¡ Èð¾îÁ® ÀÖ´Â Å×ÀÌºí ³¡¿¡ ¾É¾Æ ÀÖ½À´Ï´Ù.

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-¸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°íÀü1,195 Á¶Áö ¹ö³ªµå ¼îÀÇ À§´ëÇÑ Ä³¼­¸°(¿µ±¤ÀÌ ¿©ÀüÈ÷ »ç¶ûÇϽô ºÐ) 1913(English Classics1,195 Great Catherine(Whom Glory Still Adores) by George Bernard Shaw)
The Author's Apology For Great Catherine
¢¹ GREAT CATHERINE
The First Scene
The Second Scene
The Third Scene
The Fourth Scene
¢º ºÎ·Ï(Appendix). ¼¼°èÀÇ °íÀüÀ» ¿©ÇàÇÏ´Â È÷Ä¡ÇÏÀÌÄ¿¸¦ À§ÇÑ ¾È³»¼­(The Hitchhiker¡¯s Guide to Worlds¡¯s Classics)
A01. ÇϹöµå ¼­Á¡(Harvard Book Store) Á÷¿ø Ãßõ µµ¼­ 100¼±(Staff¡¯s Favorite 100 Books) & ÆǸŵµ¼­ 100À§(Top 100 Books)
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