¢º ¸ÞŸ»ý¹°ÇÐ ¸ð¼¼5°æ: ¹ÇµÎ¼¿¶ó·Î µ¹¾Æ°¡¶ó 1920(Back to Methuselah: A Metabiological Pentateuch by Bernard)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(64¼¼)¿¡ ÁýÇÊÇÑ ´Ü¸·±Ø(Ó¤Øм, one-act play)ÀÔ´Ï´Ù. ¼¹®(Preface)¿¡ ÇØ´çÇÏ´Â À̱³µµ ¹Ý¼¼±â(The Infidel Half Century)´Â ¹«·Á 49ÆíÀÇ Â©¸·ÇÑ ¿ø°í¸¦ ´ã°í ÀÖÀ¸¸ç, 5ºÎÀÇ Èñ°î ½Ã¸®Áî(a series of five plays)·Î ±¸¼ºµÇ¾î ÀÖ½À´Ï´Ù.
¢º 36,000³â¿¡ °ÉÄ£ ´Ù¾ç¼º!(Various, spanning 36,000 years) : Á¦1ºÎ óÀ½¿¡: B.C. 4004(In the Beginning: B.C. 4004)ºÎÅÍ Á¦2ºÎ ¹Ù³ª¹Ù ÇüÁ¦ÀÇ º¹À½¼: ÇöÀç(The Gospel of the Brothers Barnabas: Present Day), Á¦3ºÎ ÀÏÀº ÀϾÙ: A.D. 2170(The Thing Happens: A.D. 2170), Á¦4ºÎ ³ë½Å»çÀÇ ºñ±Ø: A.D. 3000(Tragedy of an Elderly Gentleman: A.D. 3000), Á¦5ºÎ »ý°¢ÀÌ ´ê´Â ÇÑ: A.D. 31,920.(As Far as Thought Can Reach: A.D. 31,920.)±îÁö B.C. 4004ºÎÅÍ A.D. 31,920.±îÁö ¹«·Á 35,924³â¿¡ °ÉÄ£ Àå´ëÇÑ ´ë¼»ç½Ã¸¦ ´ãÀº ÀÛÇ°À¸·Î, ¹ö³ªµå ¼îÀÇ ´Ù¸¥ ÀÛÇ°¿¡ ºñÇؼµµ ±ä È£Èí°ú ¹æ´ëÇÑ ºÐ·®À» ÀÚ¶ûÇÕ´Ï´Ù.
¢º ¿¬±ØÀÇ Å»À» ¾´ °ø»ó°úÇмҼ³(Science fiction)ÀÌÀÚ È¯»óÀûÀÎ ¼»ç½Ã(Visionary epic)! : 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. 1921³â ·±´øÀÇ ÄܽºÅͺí(Constable)°ú ´º¿åÀÇ ºê·»Å¸³ë(Brentano)¿¡¼ µ¿½Ã¿¡ Ãâ°£µÇ¾úÀ¸¸ç, 1922³â ´º¿å °³¸¯ ±ØÀå(Garrick Theatre)°ú 1923³â ¿µ±¹ ¹ö¹Ö¾ö ·¹Æ۳븮 ±ØÀå(the Birmingham Repertory Theatre)¿¡¼ ÃÊ¿¬À» ¿Ã·È½À´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 ÀηùÀÇ ¹Ì·¡ ¹ßÀüÀÇ ÁøÈ ´Ü°è(Evolving stages in the future progress of humanity)´Â ¹«¾ùÀΰ¡ : ¹ö³ªµå ¼î´Â ¼¹®À» ÅëÇØ °ú°ÅÀÇ ´Ü¼øÇß´ø ¿ø½Ã »çȸ¿Í ´Þ¸® 20¼¼±âÀÇ ¹®¸í»çȸ´Â º¹À⼺ÀÌ Áõ´ëµÇ¾úÀ¸¸ç, ÀÌ·Î ÀÎÇÏ¿© Á¤ºÎ°¡ Çö´ëÀÇ À¯·´¿¡ ¸¸¿¬ÇÑ ºó°ï µîÀÇ »çȸ¹®Á¦¸¦ ÀûÀýÈ÷ ÇØ°áÇÏ°í ÀÖÁö ¸øÇÏ°í ÀÖ´Ù°í ÁöÀûÇÕ´Ï´Ù. ¼î°¡ Á¦½ÃÇÑ ÇØ°áÃ¥Àº ³Ê¹«³ª º¹ÀâÇØ Á¦´ë·Î ÅëÄ¡ÇÒ ¼ö ¾ø´Ù¸é, À̸¦ Á¦´ë·Î ÀÍÈ÷±â À§ÇØ Àΰ£ÀÇ ¼ö¸íÀÌ ÃæºÐÈ÷ ´Ã¾î³ª¾ß ÇÑ´Ù´Â °Í! ÀÌ ÀÛÇ°À» ¹ßÇ¥ÇÒ ´ç½Ã ¼îÀÇ ³ªÀÌ´Â 64¼¼¿´À¸´Ï, ¾Æ¸¶µµ ÀÛ°¡ÀÇ ¿°¿øÀÌ ¾à°£Àº ¹Ý¿µµÈ ±ÛÀÌ ¾Æ´Ò±î ½Í½À´Ï´Ù.
¢º PART I?In the Beginning. ACT I. The Garden of Eden. Afternoon. An immense serpent is sleeping with her head buried in a thick bed of Johnswort, and her body coiled in apparently endless rings through the branches of a tree, which is already well grown; for the days of creation have been longer than our reckoning. She is not yet visible to anyone unaware of her presence, as her colors of green and brown make a perfect camouflage. Near her head a low rock shows above the Johnswort. The rock and tree are on the border of a glade in which lies a dead fawn all awry, its neck being broken. Adam, crouching with one hand on the rock, is staring in consternation at the dead body. He has not noticed the serpent on his left hand. He turns his face to his right and calls excitedly. ¢¹ Á¦1ºÎ?óÀ½¿¡. Á¦1¸·. ¿¡µ§µ¿»ê. ¿ÀÈÄ. °Å´ëÇÑ ¹ìÀÌ Á¸½º¿öÆ®(Johnswort)ÀÇ µÎ²¨¿î ħ´ë¿¡ ¸Ó¸®¸¦ ¹¯Àº ä ÀáÀ» ÀÚ°í ÀÖ½À´Ï´Ù. ±×³àÀÇ ¸öÀº ÀÌ¹Ì Àß ÀÚ¶õ ³ª¹« °¡Áö »çÀÌ¿¡ ³¡¾øÀÌ °í¸® ¸ð¾çÀ¸·Î °¨°Ü ÀÖ½À´Ï´Ù. âÁ¶ÀÇ ³¯Àº ¿ì¸®ÀÇ °è»êº¸´Ù ±æ¾ú½À´Ï´Ù. ±×³àÀÇ ³ì»ö°ú °¥»ö »ö»óÀº ¿Ïº®ÇÑ À§ÀåÀ» ÀÌ·ç±â ¶§¹®¿¡ ±×³àÀÇ Á¸À縦 ¸ð¸£´Â »ç¶÷¿¡°Ô´Â ¾ÆÁ÷ º¸ÀÌÁö ¾Ê½À´Ï´Ù. ±×³àÀÇ ¸Ó¸® ±Ùó¿¡´Â Á¸½º¿öÆ®(Johnswort) À§¿¡ ³·Àº ¹ÙÀ§°¡ º¸ÀÔ´Ï´Ù. ¹ÙÀ§¿Í ³ª¹«´Â ¸ñÀÌ ºÎ·¯Áø ä Á×Àº »ç½¿ ÇÑ ¸¶¸®°¡ ´©¿ö ÀÖ´Â °øÅÍÀÇ °æ°è¿¡ ÀÖ½À´Ï´Ù. ÇÑ ¼ÕÀ¸·Î ¹ÙÀ§ À§¿¡ ¿õÅ©¸®°í ÀÖ´Â ¾Æ´ãÀº °æ¾ÇÇÏ¸ç ½Ãü¸¦ ¹Ù¶óº¸°í ÀÖ½À´Ï´Ù. ±×´Â ¿Þ¼Õ¿¡ ¹ìÀÌ ÀÖ´Â °ÍÀ» º¸Áö ¸øÇß½À´Ï´Ù. ±×´Â ¾ó±¼À» ¿À¸¥ÂÊÀ¸·Î µ¹¸®°í ½Å³ª°Ô ºÒ·¯´ð´Ï´Ù.
¢º PART V.?As Far as Thought can Reach. Summer afternoon in the year 31,920 A.D. A sunlit glade at the southern foot of a thickly wooded hill. On the west side of it, the steps and columned porch of a dainty little classic temple. Between it and the hill, a rising path to the wooded heights begins with rough steps of stones in the moss. On the opposite side, a grove. In the middle of the glade, an altar in the form of a low marble table as long as a man, set parallel to the temple steps and pointing to the hill. Curved marble benches radiate from it into the foreground; but they are not joined to it: there is plenty of space to pass between the altar and the benches. ?¢¹ Á¦5ºÎ.?»ý°¢ÀÌ µµ´ÞÇÒ ¼ö ÀÖ´Â °÷±îÁö. ¼±â 31,920³â ¿©¸§ ¿ÀÈÄ. ½£ÀÌ ¿ì°ÅÁø ¾ð´ö ³²ÂÊ ±â½¾¿¡ ÀÖ´Â ÇÞ»ì °¡µæÇÑ °øÅÍ. ¼ÂÊ¿¡´Â ÀÛ°í °íÀüÀûÀÎ »ç¿øÀÇ °è´Ü°ú ±âµÕÀÌ ÀÖ´Â Çö°üÀÌ ÀÖ½À´Ï´Ù. ±×°Í°ú ¾ð´ö »çÀÌ¿¡´Â À̳¢ ¼ÓÀÇ °ÅÄ£ µ¹ °è´ÜÀ¸·Î ½£ÀÌ ¿ì°ÅÁø ³ôÀÌ·Î ¿Ã¶ó°¡´Â ±æÀÌ ½ÃÀ۵˴ϴÙ. ¹Ý´ëÆí¿¡´Â ½£ÀÌ ÀÖ½À´Ï´Ù. °øÅÍ ÇÑ°¡¿îµ¥¿¡´Â »ç¶÷ ±æÀ̸¸Å ±ä ´ë¸®¼® Å×À̺í ÇüÅÂÀÇ Á¦´ÜÀÌ »ç¿ø °è´Ü°ú ÆòÇàÇÏ°Ô ³õ¿© ¾ð´öÀ» °¡¸®Å°°í ÀÖ½À´Ï´Ù. °î¼±Çü ´ë¸®¼® º¥Ä¡°¡ Àü°æÀ¸·Î ¹æ»çµË´Ï´Ù. ±×·¯³ª ±×µéÀº ±×°Í¿¡ ¿¬°áµÇ¾î ÀÖÁö ¾Ê½À´Ï´Ù. Á¦´Ü°ú ÀÇÀÚ »çÀÌ¿¡ Áö³ª°¥ °ø°£ÀÌ ¸¹½À´Ï´Ù.
¢º A dance of youths and maidens is in progress. The music is provided by a few fluteplayers seated carelessly on the steps of the temple. There are no children; and none of the dancers seems younger than eighteen. Some of the youths have beards. Their dress, like the architecture of the theatre and the design of the altar and curved seats, resembles Grecian of the fourth century B.C., freely handled. They move with perfect balance and remarkable grace, racing through a figure like a farandole. They neither romp nor hug in our manner. ¢¹ ûÃáµéÀÇ ÃãÀÌ ÁøÇàµÇ°í ÀÖ´Ù. À½¾ÇÀº »ç¿ø °è´Ü¿¡ ºÎÁÖÀÇÇÏ°Ô ¾É¾Æ ÀÖ´Â ¸î ¸íÀÇ ÇǸ® ¿¬ÁÖÀڵ鿡 ÀÇÇØ Á¦°øµË´Ï´Ù. ¾ÆÀ̵éÀÌ ¾ø½À´Ï´Ù. ¹«¿ë¼ö Áß ´©±¸µµ 18¼¼º¸´Ù ¾î·Á º¸ÀÌÁö ¾Ê¾Ò½À´Ï´Ù. ¾î¶² û¼Ò³âµéÀº ¼ö¿°À» ±â¸£°í ÀÖ½À´Ï´Ù. ±×µéÀÇ ÀÇ»óÀº ±ØÀåÀÇ °ÇÃ๰À̳ª Á¦´Ü°ú °î¼±Çü Á¼®ÀÇ µðÀÚÀÎó·³ ÀÚÀ¯ÀÚÀç·Î ´Ù·ç¾îÁö´Â ±â¿øÀü 4¼¼±â ±×¸®½ºÀÇ ¸ð½ÀÀ» ´à¾Ò½À´Ï´Ù. ±×µéÀº ¿Ïº®ÇÑ ±ÕÇü°ú ³î¶ó¿ï ¸¸Å ¿ì¾ÆÇÏ°Ô ¿òÁ÷À̸ç, ÆĶõµ¹ °°Àº Çü»ó »çÀ̸¦ ÁúÁÖÇÕ´Ï´Ù. ±×µéÀº ¿ì¸® ¹æ½Ä´ë·Î ¶Ù¾î´Ù´ÏÁöµµ Æ÷¿ËÇÏÁöµµ ¾Ê½À´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°íÀü1,201 Á¶Áö ¹ö³ªµå ¼îÀÇ ¸ÞŸ»ý¹°ÇÐ ¸ð¼¼5°æ: ¹ÇµÎ¼¿¶ó·Î µ¹¾Æ°¡¶ó 1920(English Classics1,201 Back to Methuselah: A Metabiological Pentateuch by Bernard)
¢¹ THE INFIDEL HALF CENTURY
The Dawn Of Darwinism
The Advent Of The Neo-Darwinians
Political Inadequacy Of The Human Animal
Cowardice Of The Irreligious
Is There Any Hope In Education?
Homeopathic Education
The Diabolical Efficiency Of Technical Education
Flimsiness Of Civilization
Creative Evolution
Voluntary Longevity
The Early Evolutionists
The Advent Of The Neo-Lamarckians
How Acquirements Are Inherited
The Miracle Of Condensed Recapitulation
Heredity An Old Story
Discovery Anticipated By Divination
Corrected Dates For The Discovery Of Evolution
Defying The Lightning: A Frustrated Experiment
In Quest Of The First Cause
Paley's Watch
The Irresistible Cry Of Order, Order!
The Moment And The Man
The Brink Of The Bottomless Pit
Why Darwin Converted The Crowd
How We Rushed Down A Steep Place
Darwinism Not Finally Refutable
Three Blind Mice
The Greatest Of These Is Self-Control
A Sample Of Lamarcko-Shavian Invective
The Humanitarians And The Problem Of Evil
How One Touch Of Darwin Makes The Whole World Kin
Why Darwin Pleased The Socialists
Darwin And Karl Marx
Why Darwin Pleased The Profiteers Also
The Poetry And Purity Of Materialism
The Viceroys Of The King Of Kings
Political Opportunism In Excelsis
The Betrayal Of Western Civilization
Circumstantial Selection In Finance
The Homeopathic Reaction Against Darwinism
Religion And Romance
The Danger Of Reaction
A Touchstone For Dogma
What To Do With The Legends
A Lesson From Science To The Churches
The Religious Art Of The Twentieth Century
The Artist-Prophets
Evolution In The Theatre
My Own Part In The Matter
¢¹ BACK TO METHUSELAH.
PART I?In the Beginning
I-ACT I
I-ACT II
PART II?The Gospel of the Brothers Barnabas
PART III?The Thing Happens
PART IV?Tragedy of an Elderly Gentleman
IV-ACT I
IV-ACT II
IV-ACT III
PART V.?As Far as Thought can Reach
¢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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