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¢º ÇÏÆ®ºê·¹ÀÌÅ© ÇϿ콺(»ó½ÉÀÇ Áý) 1917(Heartbreak House 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(61)¿¡ ÁýÇÊÇÑ 3¸·(Act I.~Act III.)ÀÇ Èñ°î(ýôÍØ, Play)ÀÌÀÚ Ã¼È£ÇÇ¾È Èñºñ±Ø(Chekhovian Tragicomedy)ÀÔ´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 ÇÏÆ®ºê·¹ÀÌÅ© ÇϿ콺(»ó½ÉÀÇ Áý) 1917(Heartbreak House by George Bernard Shaw)ÀÇ ºÎÁ¦´Â ¿µ¾î ÁÖÁ¦¿¡ ´ëÇÑ ·¯½Ã¾Æ ¹æ½ÄÀÇ ÆÇŸÁö¾Æ(A Fantasia in the Russian Manner on English Themes)·Î, ºÎÁ¦ÀÇ ·¯½Ã¾Æ ¹æ½Ä(Russian Manner)Àº ·¯½Ã¾Æ ±ØÀÛ°¡ ¾ÈÅæ üȣÇÁ(Anton Chekhov, 1860~1904)ÀÇ ¿µÇâÀ» ¹Þ¾ÒÀ½À» ±ØÀÛ°¡ ¹ö³ªµå ¼î°¡ Á÷Á¢ ÀÎÁ¤ÇÑ °ÍÀÔ´Ï´Ù. ÀÌ ÀÛÇ°Àº ±¸Á¶°¡ º¹ÀâÇÏ°í, µîÀåÇϴ ij¸¯ÅÍ°¡ ¸¹¾Æ ´ëÁßÀûÀ¸·Î °ø¿¬µÇ±â¿¡´Â ¾î·Á¿ü½À´Ï´Ù¸¸, ¿ª¼³ÀûÀ¸·Î ±×·¸±â ¶§¹®¿¡ ±ØÀÛ°¡ ¹ö³ªµå ¼îÀÇ ÃµÀ缺À» °ú½ÃÇϱ⿡ ÁÁÀº ÀÛÇ°À̱⵵ ÇÕ´Ï´Ù. 1920³â ´º¿å °³¸¯ ¾¾¾îÅÍ(Garrick Theatre)¿¡¼­ ÃÊ¿¬À» ¿Ã·ÈÀ¸¸ç, 1921³â¿¡´Â ¿µ±¹ ¿Õ¸³ ¹ý¿ø(the Royal Court)¿¡¼­ ¸·À» ¿Ã·È½À´Ï´Ù.

¢º ÀÌ ¿¬±Ø, ÇÑÄ¡ ¾ÕÀ» ¿¹ÃøÇÒ ¼ö°¡ ¾ø´Ù!! : Çì½Ã¿À³× ÈÄ»þ¹ÙÀÌ(Hesione Hushabye)´Â ¾Ç¸í ³ôÀº ¸¸ÂùÆÄƼ(infamous dinner parties)ÀÇ ÁÖÃÖÀÚ·Î À¯¸íÇÕ´Ï´Ù. ½É·É ±¤¼±(psychic ray)À» ¿¬±¸ÇÏ´Â 80´ë ÈĹÝÀÇ ±«Â¥ ¹ß¸í°¡ ¼îÅä¹ö ¼±Àå(Captain Shotover)ÀÇ Áý¿¡¼­ ¿­¸° ÆÄƼ¿¡ ÃÊ´ëµÈ ¿¤¸® ´ø(Ellie Dunn)°ú ±×³àÀÇ ¾Æ¹öÁö, ¾àÈ¥ÀÚ°¡ ÃÊ´ëµÇ´Âµ¥¡¦. °ú¿¬ ±×µé¿¡°Õ ¾î¶² ±â»óõ¿ÜÇÑ ÀÏÀÌ ¹ú¾îÁú±î¿ä? ¢¹ ¿¤¸® ´øÀº ¹«ÀÚºñÇÑ ¾Ç´çÀÎ ¾àÈ¥ÀÚ¿Í µ· ¸¹Àº ºÎÀÚ »ç¾÷°ú º¸½º ¾ËÇÁ·¹µå ¸Á°£(Boss Alfred Mangan), ±×¸®°í ³»¼Å³Î °¶·¯¸®¿¡¼­ ¸¸³­ À̸§ ¸ð¸¦ ³²ÀÚ »çÀÌ¿¡¼­ °í¹Î¿¡ ºüÁ®µì´Ï´Ù. ¾Ë°íº¸´Ï ¸Å·ÂÀûÀÎ ±× ³²ÀÚ´Â Çì½Ã¿À³×ÀÇ ³²Æí ÇíÅÍ ÈÄ»þ¹ÙÀÌ(Hector Hushabye)¿´´Âµ¥...?! ¢¹ Çì½Ã¿À³× ÈÄ»þ¹ÙÀÌ´Â µ·ÀÌ ÇÊ¿äÇß°í, ±¸¸íÁ¤À» ¹ß¸íÇßÀ¸³ª Å« Àç¹Ì´Â º¸Áö ¸øÇÑ ¼îÅä¹ö ¼±ÀåÀº ´ë·®»ì»ó¹«±â¸¦ °³¹ßÇÏ°íÀÚ ÇÕ´Ï´Ù. °ú¿¬ ¼îÅä¹ö ¼±ÀåÀº ¼ö¸¹Àº ij¸¯Å͵éÀÌ ÀÌÇÕÁý»êÇÏ´Â °¡¿îµ¥ °­·ÄÇÑ ±â´ÉÀ» °¡Áø ÆøźÀ» °³¹ßÇÒ ¼ö ÀÖÀ»±î¿ä? ¢¹ ±×³ªÀú³ª ¿Ö ÆÄƼ°¡ ÇÑâÀÎ ¼îÅä¹ö ¼±ÀåÀÇ Á¤¿ø¿¡ ÆøźÀÌ ¶³¾îÁ³°í, ¼îÅä¹ö ¼±ÀåÀº ¿Ö ´ÙÀ̳ʸ¶ÀÌÆ®¸¦ ÀúÀåÇÏ°í ÀÖ¾ú´ø °ÍÀϱî¿ä?!

¢º ÀÛÇ°¿¡ µîÀåÇÏ´Â ¿©·¯ ij¸¯ÅÍ´Â °¢°¢ ¿¡µå¿öµå ½Ã´ë ¿µ±¹»çȸ(Edwardian British society)ÀÇ ´Ü¸éÀ» ÀºÀ¯ÇÑ´Ù´Â Çؼ®ÀÌ ÀÖ½À´Ï´Ù. ÀÌ Çؼ®¿¡ µû¸£¸é º¸½º ¾ËÇÁ·¹µå ¸Á°£(Boss Alfred Mangan)Àº ´©º¸ ºÎÀÚ ÀÚº»°¡(the nouveau riche capitalist)¸¦, Çì½Ã¿À³× ÈÄ»þ¹ÙÀÌ(Hesione Hushabye)´Â º¸Çì¹Ì¾È(Bohemian)À», ¿¤¸® ´ø(Ellie Dunn)Àº ºÎ¸£ÁÖ¾ÆÁö(the bourgeoisie)¸¦ »ó¡ÇÏ´Â Àι°ÀÔ´Ï´Ù. °ÑÀ¸·Î´Â »ê¾÷°èÀÇ ³ªÆú·¹¿Ë("a Napoleon of industry")ÀÓÀ» ÀÚóÇÑ º¸½º ¾ËÇÁ·¹µå ¸Á°£ÀÌ »ç½ÇÀº ¸¶Âî´Ï ´ø(Mazzini Dunn)¿¡°Ô »ç¾÷À» ¸Ã±â°í ÀÖ´Â ¹«´ÉÇÑ Àι°À̶ó´Â Á¡ÀÌ µå·¯³ª´Â °ÍÀº ´ç½ÃÀÇ ÀÚº»°¡¿¡ ´ëÇÑ ¹ö³ªµå ¼îÀÇ Åë·ÄÇÑ Ç³ÀÚ¶ó ÇÒ ¼ö ÀÖ°Ú½À´Ï´Ù.

¢º Heartbreak House is not merely the name of the play which follows this preface. It is cultured, leisured Europe before the war. When the play was begun not a shot had been fired; and only the professional diplomatists and the very few amateurs whose hobby is foreign policy even knew that the guns were loaded. A Russian playwright, Tchekov, had produced four fascinating dramatic studies of Heartbreak House, of which three, The Cherry Orchard, Uncle Vanya, and The Seagull, had been performed in England. ¢¹ ÇÏÆ®ºê·¹ÀÌÅ© ÇϿ콺(»ó½ÉÀÇ Áý)´Â ´Ü¼øÈ÷ ÀÌ ¼­¹®À» µû¸£´Â ¿¬±ØÀÇ À̸§ÀÌ ¾Æ´Õ´Ï´Ù. ÀüÀï Àü À¯·´Àº ±³¾ç ÀÖ°í ¿©À¯·Î¿î À¯·´À̾ú½À´Ï´Ù. ¿¬±ØÀÌ ½ÃÀ۵ǾúÀ» ¶§ ÃÑÀº ¹ß»çµÇÁö ¾Ê¾Ò½À´Ï´Ù. ±×¸®°í Àü¹® ¿Ü±³°üµé°ú ¿Ü±³ Á¤Ã¥À» Ãë¹Ì·Î ÇÏ´Â ¼Ò¼öÀÇ ¾Æ¸¶Ãß¾îµé¸¸ÀÌ ÃÑÀÌ ÀåÀüµÇ¾ú´Ù´Â »ç½ÇÁ¶Â÷ ¾Ë°í ÀÖ¾ú½À´Ï´Ù. ·¯½Ã¾Æ ±ØÀÛ°¡ üÄÚÇÁ(Tchekov)´Â ÇÏÆ®ºê·¹ÀÌÅ© ÇϿ콺(Heartbreak House)¿¡ ´ëÇÑ 4ÆíÀÇ ¸ÅȤÀûÀÎ ±Ø ¿¬±¸¸¦ Á¦ÀÛÇߴµ¥, ±× Áß 3Æí(The Cherry Orchard, Uncle Vanya, The Seagull)ÀÌ ¿µ±¹¿¡¼­ »ó¿¬µÇ¾ú½À´Ï´Ù.

¢º Tolstoy, in his Fruits of Enlightenment, had shown us through it in his most ferociously contemptuous manner. Tolstoy did not waste any sympathy on it: it was to him the house in which Europe was stifling its soul; and he knew that our utter enervation and futilization in that overheated drawingroom atmosphere was delivering the world over to the control of ignorant and soulless cunning and energy, with the frightful consequences which have now overtaken it. Tolstoy was no pessimist: he was not disposed to leave the house standing if he could bring it down about the ears of its pretty and amiable voluptuaries; and he wielded the pickaxe with a will. ¢¹ Å罺ÅäÀÌ´Â ¡º°è¸ùÀÇ ¿­¸Å¡»¿¡¼­ °¡Àå »ç³³°í °æ¸êÀûÀΠŵµ·Î ¿ì¸®¿¡°Ô ±×°ÍÀ» º¸¿©ÁÖ¾ú½À´Ï´Ù. Å罺ÅäÀÌ´Â ±×°Í¿¡ ´ëÇØ ¾î¶² µ¿Á¤½ÉÀ» ³¶ºñÇÏÁö ¾Ê¾Ò½À´Ï´Ù. ±×°ÍÀº ±×¿¡°Ô À¯·´ÀÌ ±× ¿µÈ¥À» ¾ï´©¸£°í ÀÖ´Â ÁýÀ̾ú½À´Ï´Ù. ±×¸®°í ±×´Â °ú¿­µÈ ÀÀÁ¢½Ç ºÐÀ§±â ¼Ó¿¡¼­ÀÇ ¿ì¸®ÀÇ ¿ÏÀüÇÑ ¹«±â·Â°ú ¹«±â·ÂÀÌ ¼¼»óÀ» ¹«ÁöÇÏ°í ¿µÈ¥ ¾ø´Â ±³È°ÇÔ°ú Á¤·ÂÀÇ Áö¹è¿¡ ³Ñ°ÜÁÖ¾î ¹«¼­¿î °á°ú°¡ Áö±Ý ±×°ÍÀ» µ¤Ä¡°í ÀÖ´Ù´Â °ÍÀ» ¾Ë°í ÀÖ¾ú½À´Ï´Ù. Å罺ÅäÀÌ´Â ºñ°üÁÖÀÇÀÚ°¡ ¾Æ´Ï¾ú½À´Ï´Ù. ±×´Â ¿¹»Ú°í »ó³ÉÇÑ Ç³¸¸ÇÑ »ç¶÷µéÀÇ ±Í¿¡ ÁýÀ» °¡Á®´Ù ÁÙ ¼ö¸¸ ÀÖ´Ù¸é ±× ÁýÀ» ±×´ë·Î µÎ°í ¶°³¯ »ý°¢ÀÌ ¾ø¾ú½À´Ï´Ù. ±×¸®°í ±×´Â ÀÇÁö·Î °î±ªÀ̸¦ Èֵθ¨´Ï´Ù.

¢º He treated the case of the inmates as one of opium poisoning, to be dealt with by seizing the patients roughly and exercising them violently until they were broad awake. Tchekov, more of a fatalist, had no faith in these charming people extricating themselves. They would, he thought, be sold up and sent adrift by the bailiffs; and he therefore had no scruple in exploiting and even flattering their charm. ¢¹ ±×´Â ¼ö°¨ÀÚµéÀÇ »ç·Ê¸¦ ¾ÆÆí Áßµ¶ »ç·Ê·Î Ãë±ÞÇÏ¿© ȯÀÚ¸¦ °ÅÄ¥°Ô ºÙÀâ°í ±×µéÀÌ ±ú¾î³¯ ¶§±îÁö Æø·ÂÀûÀ¸·Î ÈƷýÃÅ°´Â ¹æ½ÄÀ¸·Î ó¸®Çß½À´Ï´Ù. ¿î¸í·ÐÀÚ¿¡ °¡±î¿î üÄÚÇÁ´Â ÀÌ ¸Å·ÂÀûÀÎ »ç¶÷µéÀÌ ½º½º·Î¸¦ ±¸ÃâÇÏ´Â °ÍÀ» ¹ÏÁö ¾Ê¾Ò½À´Ï´Ù. ±×´Â ±×µéÀÌ ÁýÇà°ü¿¡ ÀÇÇØ ¸Å°¢µÇ¾î Ç¥·ùÇÏ°Ô µÉ °ÍÀ̶ó°í »ý°¢Çß½À´Ï´Ù. ±×·¯¹Ç·Î ±×´Â ±×µéÀÇ ¸Å·ÂÀ» ÀÌ¿ëÇÏ°í ½ÉÁö¾î ¾Æ÷ÇÏ´Â µ¥ °Å¸®³¦ÀÌ ¾ø¾ú½À´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°íÀü1,199 Á¶Áö ¹ö³ªµå ¼îÀÇ ÇÏÆ®ºê·¹ÀÌÅ© ÇϿ콺(»ó½ÉÀÇ Áý) 1917(English Classics1,199 Heartbreak House by George Bernard Shaw)
Heartbreak House And Horseback Hall
¢¹ HEARTBREAK HOUSE
ACT I.
ACT II.
ACT III.
¢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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A02. ¼­¿ï´ë(Seoul University) ±ÇÀåµµ¼­ 100
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