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¢º ¼öµµ»ç¿Í »çÇüÁýÇàÀÎÀÇ µþ 1892(The Monk and The Hangman's Daughter by Bierce, Danziger, and Voss)´Â Àΰ£ º»¼º¿¡ ´ëÇÑ ³Ã¼ÒÀûÀΠŵµ·Î ¾²¶ó¸° ºñ¾î½º(Bitter Bierce)¶ó°í ºÒ¸° 19¼¼±â ¹Ì±¹ ÀÛ°¡ ¾Úºê·ÎÁî ºñ¾î½º(Ambrose Bierce, 1842~1914?)°¡ 50¼¼¿¡ ¹ßÇ¥ÇÑ ¼Ò¼³(Fiction)ÀÔ´Ï´Ù. ÀÌ ÀÛÇ°Àº ¸®Ã³µå º¸½ºÀÇ µ¶ÀÏ¾î ¿øÀü(An adaptation from the German of Richard Voss.)À» ¿øÀÛÀ» ¿µ¾î·Î ¹ø¿ªÇØ ´Þ¶ó´Â ¿äûÀ» ¹ÞÀº ¾Úºê·ÎÁî ºñ¾î½º°¡ ÀÚ½ÅÀÌ ´ç´ë µ¶ÀÏ °íµñ ¾ç½ÄÀÇ °ü½ÀÀ» Ãß°¡ÇÏ´Â µîÀÇ °úÁ¤À» °ÅÃÄ °³ÀÛÇÑ ÀÛÇ°ÀÔ´Ï´Ù. ÀÌ ¶§¹®¿¡ ÀúÀÛ±ÇÀÚ°¡ ¾Úºê·ÎÁî ºñ¾î½º(Ambrose Bierce, 1842~1914?), ¾Æµ¹ÇÁ ´ÜÁö°Å µå Ä«½ºÆ®·Î(Adolphe Danziger De Castro, 1859~1959), ¸®Ã³µå º¸½º(Richard Voss, 1851~1918)¿Í °°ÀÌ º¹¼ö·Î Ç¥±âµË´Ï´Ù.

¢º Under the name of G. A. Danziger I wrote in the year 1889 a story founded on a German tale, which I called The Monk and the Hangman¡¯s Daughter. The story was tragic but I gave it a happy ending. Submitting it to the late Ambrose Bierce, asking him to revise the story, he suggested the retention of the tragic part and so revised it. The story was published and the house failed. When in 1900 a publisher desired to bring out the story provided I gave it a happy ending, I submitted the matter to Bierce and on August 21, 1900, he wrote me a long letter on the subject of which the following is an extract: ¢¹ ³ª´Â 1889³â¿¡ ¾Æµ¹ÇÁ ´ÜÁö°Å µå Ä«½ºÆ®·Î(Adolphe Danziger De Castro, 1859~1959)¶ó´Â À̸§À¸·Î ¡º¼öµµ»ç¿Í ±³¼öÇü ÁýÇàÀÎÀÇ µþ¡»À̶ó´Â µ¶ÀÏ ¼³È­¸¦ ¹ÙÅÁÀ¸·Î ÇÑ À̾߱⸦ ½è½À´Ï´Ù. À̾߱â´Â ºñ±ØÀûÀ̾úÁö¸¸ ÇØÇÇ¿£µùÀ¸·Î ³¡³µ½À´Ï´Ù. °í ¾Úºê·ÎÁî ºñ¾î½º¿¡°Ô Á¦ÃâÇÏ¿© À̾߱âÀÇ ¼öÁ¤À» ¿äûÇÑ ±×´Â ºñ±ØÀûÀÎ ºÎºÐÀ» ±×´ë·Î À¯ÁöÇÏÀÚ°í Á¦¾ÈÇÏ¿© ¼öÁ¤Çß½À´Ï´Ù. À̾߱Ⱑ ÃâÆǵǾú°í ÃâÆÇ»ç´Â ½ÇÆÐÇß½À´Ï´Ù. 1900³â¿¡ ÇÑ ÃâÆǻ簡 ³»°¡ ÇØÇÇ¿£µùÀ» ÁØ´Ù¸é ±× À̾߱⸦ ÃâÆÇÇÏ°í ½Í¾î ÇßÀ» ¶§ ³ª´Â ±× ¹®Á¦¸¦ ¾Úºê·ÎÁî ºñ¾î½º¿¡ Á¦¾ÈÇß°í 1900³â 8¿ù 21ÀÏ ±×´Â ³ª¿¡°Ô ´ÙÀ½°ú °°Àº ÁÖÁ¦¿¡ °üÇÑ Àå¹®ÀÇ ÆíÁö¸¦ ½è½À´Ï´Ù.

¢º ÀÛÇ°ÀÇ ÁÖÀΰøÀº °è¸ùÁÖÀÇ ÀÌÀüÀÇ ½Ã´ë, µ¶ÀÏÀÇ ÀþÀº ÇÁ¶õü½ºÄÚ ¼öµµ»ç ¾Ïºê·Î½Ã¿ì½º(Ambrosius)·Î Á¦¸ñ ±×´ë·Î ¼öµµ»ç ¾Ïºê·Î½Ã¿ì½º°¡ ¼ø·Ê Áß¿¡ »çÇüÁýÇàÀΰú ±×ÀÇ µþ º£³×µñŸ(Benedicta)¸¦ ¸¸³ª°í, ÀÌ·Î ÀÎÇÏ¿© ¹ú¾îÁö´Â ÀÏÀ» ÁÖ¿ä ¼ÒÀç·Î »ï°í ÀÖ½À´Ï´Ù. ¼Ò¼³Àº ÀþÀº ¼öµµ»ç°¡ 1ÀÎĪ ½ÃÁ¡À¸·Î ÀûÀº ÀϱâÀÇ Çü½ÄÀ¸·Î ÁøÇàµÇ¸ç ±ÝÁöµÈ »ç¶û°ú À¯È¤, ±¸¿ø, ±Ý¿åÀûÀÎ »î°ú ±×ÀÇ À§Ç輺 µî¿¡ ´ëÇÑ ÆÄ°ÝÀûÀÎ À̾߱⸦ ´ã°í ÀÖ½À´Ï´Ù. ¢¹ »çÇüÁýÇàÀÎÀº ½Ã´ë¿Í ±¹°¡¸¦ ¸··ÐÇÏ°í, ÀÌ¿ôµéÀÇ ÀÔÀå¿¡¼­ ²¨¸²Ä¢ÇÑ Á÷¾÷ÀÏ ¼ö¹Û¿¡ ¾ø°í, ±×ÀÇ ÀÚ³àµé ¶ÇÇÑ ¾Æ¹öÁöÀÇ Á÷¾÷À¸·ÎºÎÅÍ ÀÚÀ¯·Î¿ï ¼ö ¾ø¾ú½À´Ï´Ù. ÀÌ ¶§¹®¿¡ Áö¿ª »çȸ¿¡ µ¿È­µÇÁö ¸øÇÏ°í, ÀÌ¿ôµéÀÇ Çø¿À¿¡ ½Ã´Þ¸®´Â º£³×µñŸ´Â ¾Ïºê·Î½Ã¿ì½ºÀÇ µ¿Á¤°ú ¾ÖÁ¤À» µ¿½Ã¿¡ ¹Þ¾ÒÀ¸¸ç, º£³×µñŸÀÇ °¨Á¤ ¶ÇÇÑ ¾Ïºê·Î½Ã¿ì½ºÀÇ ¼ø¼öÇÔ¿¡ Èçµé¸± ¼ö¹Û¿¡ ¾ø´Âµ¥¡¦¡¦. °ú¿¬ ±× µÑÀÇ ¿î¸íÀº ¾î¶»°Ô µÉ±î¿ä?

¢º I wrapped the beautiful body in a white sheet, leaving the face uncovered, and laid it upon the floor. But the blood tinged the linen, so I parted her long golden hair, spreading it over the crimson roses upon her breast. As I had made her a bride of Heaven, I took from the image of the Virgin the wreath of edelweiss and placed it on Benedicta¡¯s brow; and now I remembered the edelweiss which she had once brought me to comfort me in my penance. Then I stirred the fire, which cast upon the shrouded figure and the beautiful face a rich red light, as if God¡¯s glory had descended there to enfold her. It was caught and tangled in the golden tresses that lay upon her breast, so that they looked a mass of curling flame. And so I left her. ¢¹ ³ª´Â ¾Æ¸§´Ù¿î ¸öÀ» ÇÏ¾á ½ÃÆ®·Î ½Î¼­ ¾ó±¼Àº µå·¯³»Áö ¾ÊÀº ä ¹Ù´Ú¿¡ ´¯Çû´Ù. ±×·¯³ª ÇÇ°¡ ¸®³ÙÀ» ¹°µé¿´±â ¶§¹®¿¡ ³ª´Â ±×³àÀÇ ±ä ±Ýºû ¸Ó¸®Ä«¶ôÀ» ³ª´©¾î ±×³àÀÇ °¡½¿¿¡ ÀÖ´Â ÁøÈ«ºû Àå¹Ì À§¿¡ ÆîÃÄ ³õ¾Ò½À´Ï´Ù. ³ª´Â ±×³à¸¦ õ±¹ÀÇ ½ÅºÎ·Î »ï¾Ò±â ¶§¹®¿¡ µ¿Á¤³àÀÇ Çü»ó¿¡¼­ ¿¡µ¨¹ÙÀ̽º ȭȯÀ» °¡Á®´Ù°¡ º£³×µñŸÀÇ À̸¶¿¡ ¾ñ¾î ÁÖ¾ú½À´Ï´Ù. ±×¸®°í ÀÌÁ¦ ³ª´Â ±×³à°¡ ³ªÀÇ Âüȸ¸¦ À§·ÎÇϱâ À§ÇØ °¡Á®¿Ô´ø ¿¡µ¨¹ÙÀ̽º¸¦ ±â¾ïÇß½À´Ï´Ù. ±×·± ´ÙÀ½ ³ª´Â ºÒÀ» ÈÖÀú¾ú°í, ±× ºÒÀº ¼öÀǸ¦ ÀÔÀº Àι°°ú ¾Æ¸§´Ù¿î ¾ó±¼¿¡ £Àº ºÓÀº ºûÀ» ºñÃè½À´Ï´Ù. ¸¶Ä¡ ÇÏ´À´ÔÀÇ ¿µ±¤ÀÌ ±×°÷À¸·Î ³»·Á¿Í ±×³à¸¦ °¨½Î´Â °Í °°¾Ò½À´Ï´Ù. ±×°ÍÀº ±×³àÀÇ °¡½¿ À§¿¡ ³õÀΠȲ±Ýºû ¸Ó¸®Ä«¶ô¿¡ °É·Á ¾ûÄÑ À־ ±ÁÀÌÄ¡´Â ºÒ²É µ¢¾î¸®Ã³·³ º¸¿´½À´Ï´Ù. ±×·¡¼­ ³ª´Â ±×³à¸¦ ¶°³µ½À´Ï´Ù.

¢º ¿µÈ­ ¿Ãµå ±×¸µ°í(Old Gringo, 1989)´Â ¸ß½ÃÄÚ Çõ¸í(Mexican Revolution, 1910~1920)À» ¹è°æÀ¸·Î ¾ð·Ð°è¸¦ ÀºÅðÇÑ ¾Úºê·ÎÁî ºñ¾î½º(Ambrose Bierce)¿Í û³â Àå±³ Å丶½º ¾Æ·Î¿ä(revolutionary army of General Tomas Arroyo), ±×¸®°í ¹Ì¸ðÀÇ ¹Ì±¹±³»ç Çظ®¾ù À©½½·Î¿ì(Harriet Winslow)ÀÇ »ï°¢°ü°è¸¦ ¹ö¹«¸° ¹Ì±¹ ¿µÈ­ÀÔ´Ï´Ù. ´ç´ë ÃÖ°íÀÇ ¹Ì³²¹è¿ì ±×·¹°í¸® Æå(Eldred Gregory Peck, 1916~2003)ÀÌ ¾Úºê·ÎÁî ºñ¾î½º(Ambrose Bierce) ¿ªÀ» ¸Ã¾Ò½À´Ï´Ù. ¢¹ ±¹³»¿¡ ±×¸® Àß ¾Ë·ÁÁø ÀÛÇ°Àº ¾Æ´ÏÁö¸¸ ¾Úºê·ÎÁî ºñ¾î½º(Ambrose Bierce)¶õ ½ÇÁ¸ Àι°ÀÇ »î°ú ¹Ì½ºÅ͸®ÇÑ Á×À½À» ¸ðƼºê·Î »ï¾Ò±â ¶§¹®¿¡, ±×ÀÇ ÀÏ´ë±â°¡ ±Ã±ÝÇÑ µ¶ÀÚ¿¡°Ô Ãßõµå¸±¸¸ÇÑ ¿µÈ­ÀÔ´Ï´Ù. ¹°·Ð ¿µÈ­¿¡ µîÀåÇÏ´Â ±×ÀÇ Á×À½Àº ¾îµð±îÁö³ª ½Ã³ªÀÌ·Î ÀÛ°¡ÀÇ Ã¢ÀÛÀÔ´Ï´Ù. ¢¹ Ȳȥ¿¡¼­ »õº®±îÁö(From Dusk Till Dawn) ½Ã¸®Áî 3Æí »çÇüÁýÇàÀÎÀÇ µþ(The Hangman's Daughter, 1999)¿¡¼­ ¸¶ÀÌŬ ÆÄÅ©(Michael Parks)°¡ ¾Úºê·ÎÁî ºñ¾î½º(Ambrose Bierce) ¿ªÀ¸·Î µîÀåÇÕ´Ï´Ù. ¿Ã»©¹Ì ½Ã³Á¹° ´Ù¸®¿¡¼­ »ý±ä ÀÏ(An Occurrence at Owl Creek Bridge, 1890)°ú ´Ù¸¥ ÃÑ»ìÀÌÁö¸¸, ¿©±â¼­´Â ÀÛ°¡ º»ÀÎÀÌ Á×À½À» ¾ÕµÎ°í Àֳ׿䡦.

¢º ºñ¾î½º°¡ 50¼¼ÀÇ ³ªÀÌ·Î ¹ßÇ¥ÇÑ ¼öµµ»ç¿Í »çÇüÁýÇàÀÎÀÇ µþ 1892(The Monk and The Hangman's Daughter by Bierce, Danziger, and Voss)´Â ºñ¾î½º ƯÀ¯ÀÇ °©ÀÛ½º·¯¿î Àü°³(An Abrupt Beginning), ¾îµÎÄÄÄÄÇÑ À̹ÌÁö(Dark Imagery), ½Ã°£¿¡ ´ëÇÑ ¸ðÈ£¼º(Vague References To Time), µ¶ÀÚ¿¡°Ô ºÒÄ£ÀýÇÑ ¼³¸í(Limited Descriptions), Çö½ÇÀûÀ¸·Î ºÒ°¡´ÉÇÑ »ç°Ç(Impossible Events), ±×¸®°í ÂüÀü¿ë»ç·Î½á ¹Ýº¹ÀûÀ¸·Î ¼ÒÀç·Î »ïÀº ÀüÀï(The Theme Of War) µîÀÇ Æ¯Â¡°ú »ç¹µ ´Ù¸¥ °áÀ» º¸¿©ÁÖ´Â ÀÛÇ°ÀÔ´Ï´Ù. Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 1,999¼±°ú ÇÔ²² ¾îÁ¦µµ, ¿À´Ãµµ, ³»Àϵµ ¸ÚÁø ¹®Çп©ÇàÀ»!