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¢º °ÅÀÇ ¿ª»çÀûÀÎ Èñ±Ø: Æä·ç»ì·½ÀÇ À×Ä« 1915(The Inca of Perusalem: An Almost Historical Comedietta 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(59¼¼)¿¡ ÁýÇÊÇÑ Äڹ̵ð ´Ü¸·±Ø(Comic One-Act Play)ÀÔ´Ï´Ù. ¢¹ °ÅÀÇ ¿ª»çÀûÀÎ Èñ±Ø: Æä·ç»ì·½ÀÇ À×Ä« 1915(The Inca of Perusalem: An Almost Historical Comedietta by George Bernard Shaw)´Â ÀÛ°¡ ¹ö³ªµå ¼îÀÇ À̸§À» ¹àÈ÷Áö ¾ÊÀº ä ¿Õ¸³¹®ÇÐÇÐȸ ȸ¿ø(a member of the Royal Society of Literature)À̶õ ½ÅºÐ¸¸ °ø°³ÇÑ »óÅ·Π1916³â ¹ö¹Ö¾ö ·¹ÆÛÅ丮 ±ØÀå(the Birmingham Repertory Theatre)¿¡¼­ ÃÊ¿¬À» ¿Ã·È½À´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 ¹é¸¸ÀåÀÚÀÇ ¹Ì¸ÁÀÎÀÓ¿¡µµ ºÒ±¸ÇÏ°í, °¡³­ÇÏ°Ô »ì°í ÀÖ´Â ¿¡¸£¹ÎÆ®·çµå(Ermyntrude)´Â ´ëÁÖ±³(Archdeacon)ÀÎ ¾Æ¹öÁö·ÎºÎÅÍ ´Ù¸¥ ¹é¸¸ÀåÀÚ¸¦ ¸¸³ª±â À§ÇØ ºÎÀãÁý ¾Æ°¡¾¾ÀÇ °¡Á¤ºÎ(lady's maid)·Î ÀÏÇ϶ó´Â Ãæ°í¸¦ ¹Þ½À´Ï´Ù. ¿¡¸£¹ÎÆ®·çµå°¡ °øÁÖÀÇ ¸ÞÀ̵å(her lady's maid)·Î ÀÏÇϱ⠽ÃÀÛÇÑ ÈÄ, ¾î´À ³¯ Æä·ç»ì·½ÀÇ À×Ä«(Inca of Perusalem)ÀÇ Àü·ÉÀÓÀ» ÁÖÀåÇÏ´Â µà¹ß ¼±Àå(Captain Duval)ÀÌ Ã£¾Æ¿Í ±â¹¦ÇÑ À̾߱⸦ ÀüÇϴµ¥¡¦.

¢º ±×·¯³ª µà¹ß ¼±ÀåÀÌ °ð º¯ÀåÇÑ À×Ä«ÀÓÀ» ´«Ä¡ æ ¿¡¸£¹ÎÆ®·çµå´Â ¼Ò½ÉÇÑ °øÁÖ¿¡°Ô ÀÚ½ÅÀÌ °øÁÖÀΠô ¿¬±âÇÔÀ¸·Î½á ±×ÀÇ À½¸ð¸¦ ÆÄÇìÃÄ º¸°Ú´Ù°í Á¦¾ÈÇÕ´Ï´Ù. °øÁÖÀÇ µ¿ÀǸ¦ ¾òÀº ¿¡¸£¹ÎÆ®·çµå´Â °á±¹ À×Ä«·ÎºÎÅÍ ¹ÏÀ» ¼ö ¾øÀ» Á¤µµ·Î Ä¿´Ù¶õ º¸¼®À» ¼±¹°·Î ¹Þ¾ÒÀ» »Ó ¾Æ´Ï¶ó, ±×ÀÇ Ã»È¥±îÁö ¹Þ´Âµ¥ ¼º°øÇÕ´Ï´Ù. ³î¶ø°Ôµµ À×Ä«´Â ÀÌ¹Ì ¿¡¸£¹ÎÆ®·çµå°¡ °øÁÖ°¡ ¾Æ´ÔÀ» ¾Ë°í ÀÖ¾ú½À´Ï´Ù!! °ú¿¬ À×Ä«¿Í ¿¡¸£¹ÎÆ®·çµå´Â ÇູÇÑ °áÈ¥À» ¸ÂÀÌÇÒ ¼ö ÀÖÀ»±î¿ä? µÑÀº ÀüÀïÀ¸·Î ÀÎÇØ È²ÆóÈ­µÈ Æä·ç»ì·½À¸·Î ¹«»çÈ÷ µ¹¾Æ°¥ ¼ö ÀÖÀ»±î¿ä? ±×º¸´Ù À×Ä«°¡ ¼±¹°ÇÑ Å­Áö¸·ÇÑ º¸¼®Àº °ú¿¬ ÁøÇ°...Àϱî¿ä?!

¢º I must remind the reader that this playlet was written when its principal character, far from being a fallen foe and virtually a prisoner in our victorious hands, was still the Caesar whose legions we were resisting with our hearts in our mouths. Many were so horribly afraid of him that they could not forgive me for not being afraid of him: I seemed to be trifling heartlessly with a deadly peril. I knew better; and I have represented Caesar as knowing better himself. ¢¹ ³ª´Â µ¶Àڵ鿡°Ô ÀÌ ±ØÀÇ ÁÖÀΰøÀÌ ¾²·¯Áø ¿ø¼öÀÌÀÚ »ç½Ç»ó ¿ì¸® ½Â¸®ÀÇ ¼Õ¿¡ °¤Èù Æ÷·Î°¡ µÇ±â´ÂÄ¿³ç ¿©ÀüÈ÷ ¿ì¸®°¡ ¸¶À½À¸·Î ÀÔ¿¡ ´ë°í ÀúÇ×ÇÏ´ø ±×ÀÇ ±º´ë¿¡ ¸Â¼­´ø Ä«À̻縣¿´À» ¶§ ¾²¿©Á³´Ù´Â Á¡À» »ó±â½ÃÄÑ¾ß ÇÕ´Ï´Ù. ¸¹Àº »ç¶÷µéÀÌ ±×¸¦ ¸÷½Ã µÎ·Á¿öÇÏ¿© ±×¸¦ µÎ·Á¿öÇÏÁö ¾Ê´Â ³ª¸¦ ¿ë¼­ÇÒ ¼ö ¾ø¾ú½À´Ï´Ù. ³ª´Â Ä¡¸íÀûÀÎ À§ÇèÀ» ¾È°í ¹«ÀÚºñÇÏ°Ô ¼ÒȦÈ÷ ´ëÇÏ´Â °Í °°¾Ò½À´Ï´Ù. ³ª´Â ´õ Àß ¾Ë°í ÀÖ¾ú½À´Ï´Ù. ±×¸®°í ³ª´Â Ä«À̻縣°¡ ÀÚ½ÅÀ» ´õ Àß ¾Æ´Â »ç¶÷À̶ó°í Ç¥ÇöÇß½À´Ï´Ù.

¢º Now that this is all over, and the upshot of the fighting has shown that we could quite well have afforded to laugh at the doomed Inca, I am in another difficulty. I may be supposed to be hitting Caesar when he is down. That is why I preface the play with this reminder that when it was written he was not down. To make quite sure, I have gone through the proof sheets very carefully, and deleted everything that could possibly be mistaken for a foul blow. ¢¹ ÀÌÁ¦ ÀÌ ¸ðµç °ÍÀÌ ³¡³µ°í, ÀüÅõÀÇ °á°ú´Â ¿ì¸®°¡ ºÒ¿îÇÑ À×Ä«¸¦ ºñ¿ô¾îµµ ±¦Âú¾ÒÀ½À» º¸¿© ÁÖ¾ú°í, ³ª´Â ¶Ç ´Ù¸¥ ¾î·Á¿ò¿¡ óÇØ ÀÖ½À´Ï´Ù. Ä«À̻縣°¡ ¾²·¯Áö¸é ³ª´Â ±×¸¦ ¶§¸± ¼öµµ ÀÖ½À´Ï´Ù. ÀÌ°ÍÀÌ ¹Ù·Î ³»°¡ ±Øº»À» ½èÀ» ¶§ ±×°¡ ¾²·¯ÁöÁö ¾Ê¾Ò´Ù´Â Á¡À» »ó±â½ÃÄÑ ÁÖ´Â ¸»·Î ±ØÀÇ ¼­¹®À» ½ÃÀÛÇÏ´Â ÀÌÀ¯ÀÔ´Ï´Ù. È®½ÇÈ÷ Çϱâ À§ÇØ ±³Á¤Áö¸¦ ¸Å¿ì ÁÖÀÇ ±í°Ô »ìÆ캸°í, ÆÄ¿ï·Î ¿ÀÇعÞÀ» ¼ö ÀÖ´Â ¸ðµç Ç׸ñÀ» »èÁ¦Çß½À´Ï´Ù.

¢º I have of course maintained the ancient privilege of comedy to chasten Caesar's foibles by laughing at them, whilst introducing enough obvious and outrageous fiction to relieve both myself and my model from the obligations and responsibilities of sober history and biography. But I should certainly put the play in the fire instead of publishing it if it contained a word against our defeated enemy that I would not have written in 1913. ¢¹ ¹°·Ð ³ª´Â Ä«À̻縣ÀÇ ÇãÁ¡À» ºñ¿ôÀ½À¸·Î½á ¡°èÇÏ´Â Èñ±ØÀÇ °í´ë Ư±ÇÀ» À¯ÁöÇÏ´Â µ¿½Ã¿¡ ³ÃÁ¤ÇÑ ¿ª»ç¿Í Àü±âÀÇ Àǹ«¿Í Ã¥ÀÓÀ¸·ÎºÎÅÍ ³ª ÀڽŰú ³ªÀÇ ¸ðµ¨ ¸ðµÎ¸¦ Çعæ½ÃÅ°±â¿¡ ÃæºÐÈ÷ ¸í¹éÇÏ°í Å͹«´Ï¾ø´Â ¼Ò¼³À» ¼Ò°³Çß½À´Ï´Ù. ±×·¯³ª 1913³â¿¡ ³»°¡ ¾²Áö ¾Ê¾ÒÀ» ¿ì¸®ÀÇ ÆйèÇÑ Àû¿¡ ´ëÇÑ ¸»ÀÌ Æ÷ÇԵǾî ÀÖ¾ú´Ù¸é ³ª´Â ±× ±ØÀ» ÃâÆÇÇÏ´Â ´ë½Å ºÒ ¼Ó¿¡ ´øÁ®¾ß Çß½À´Ï´Ù.

¢º THE PRINCESS. I don't know. They haven't settled which. It's a dreadful thing to be a princess: they just marry you to anyone they like. The Inca is to come and look at me, and pick out whichever of his sons he thinks will suit. And then I shall be an alien enemy everywhere except in Perusalem, because the Inca has made war on everybody. And I shall have to pretend that everybody has made war on him. It's too bad. ¢¹ °øÁÖ. ¸ð¸£°Ú½À´Ï´Ù. ±×µéÀº ¾î´À °ÍÀ» °áÁ¤ÇÏÁö ¾Ê¾Ò½À´Ï´Ù. °øÁÖ°¡ µÈ´Ù´Â °ÍÀº ²ûÂïÇÑ ÀÏÀÔ´Ï´Ù. ±×µéÀº ´ÜÁö ±×µéÀÌ ÁÁ¾ÆÇÏ´Â »ç¶÷°ú ´ç½Å°ú °áÈ¥ÇÒ »ÓÀÔ´Ï´Ù. À×Ä«ÀÎÀº ¿Í¼­ ³ª¸¦ º¸°í ±×ÀÇ ¾Æµé Áß ´©±¸¿¡°Ô³ª ÀûÇÕÇÏ´Ù°í »ý°¢ÇÏ´Â »ç¶÷À» °ñ¶ó³»´Â °ÍÀÔ´Ï´Ù. ±×·¯¸é ³ª´Â Æä·ç»ì·½À» Á¦¿ÜÇÑ ¸ðµç °÷¿¡¼­ ¿Ü°èÀÇ ÀûÀÌ µÉ °ÍÀÔ´Ï´Ù. À×Ä«°¡ ¸ðµç »ç¶÷°ú ÀüÀïÀ» ¹ú¿´±â ¶§¹®ÀÔ´Ï´Ù. ±×¸®°í ³ª´Â ¸ðµÎ°¡ ±×¿Í ÀüÀïÀ» ¹úÀΠôÇØ¾ß ÇÒ °ÍÀÔ´Ï´Ù. Á¤¸» ¾È ÁÁ½À´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°íÀü1,196 Á¶Áö ¹ö³ªµå ¼îÀÇ °ÅÀÇ ¿ª»çÀûÀÎ Èñ±Ø: Æä·ç»ì·½ÀÇ À×Ä« 1915(English Classics1,196 The Inca of Perusalem: An Almost Historical Comedietta by George Bernard Shaw)
Writer¡¯s Note
Prologue
¢¹ THE PLAY
¢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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