¢º À̼ÙÀÇ »õ·Ó°Ô ¹ø¿ªÇÑ À̼٠¿ìÈ 1912(AESOP¡¯s Fables; A New Translation by AESOP) : À̼٠¿ìÈ´Â ÃÖÃÊ·Î ±×¸®½º¾î(Greek)·Î ÀÛ¼ºµÇ¾úÀ¸¸ç, ÀÌÈÄ ¶óƾ¾î¸¦ ºñ·ÔÇÑ ´Ù¾çÇÑ À¯·´¾ð¾î¿Í Àü ¼¼°èÀÇ ¾ð¾î·Î ¹ø¿ªµÇ¸é¼ ¡®ÀηùÀÇ ¿ìÈÁý¡¯À¸·Î »ç¶û¹Þ°í ÀÖ½À´Ï´Ù. ÀÌ¿¡ µû¶ó À̼٠¿ìÈÁýÀº ¼ö¸¹Àº ½Ã´ë¿Í ¾ð¾î, ÆíÁýÀÚ, »ðÈ°¡¿¡ µû¶ó ¼ö¹é, ¾Æ´Ï ¼öõ Á¾À¸·Î ¹ß°£µÇ¾úÀ» Á¤µµ·Î ¼ö¸¹Àº ÆǺ»À» ÀÚ¶ûÇÕ´Ï´Ù. À̼٠¿ìÈÁýÀº ¶§·Î´Â Àú¸íÇÑ ÆíÁýÀÚÀÇ ÆǺ»À¸·Î, ¶§·Î´Â ´ç´ë À¯¸í»ðÈ°¡ÀÇ ¹öÀüÀ¸·Î Áö±Ý ÀÌ ¼ø°£¿¡µµ ¼¼°è °¢ÁöÀÇ µ¶ÀÚµéÀÇ ¼Õ¿¡ µé·Á ÀÖ½À´Ï´Ù. Å׸¶¿©Çà½Å¹® TTN KoreaÀº À̼ÙÀÇ »õ·Ó°Ô ¹ø¿ªÇÑ À̼٠¿ìÈ 1912(AESOP¡¯s Fables; A New Translation by AESOP)¿¡ ¼ö·ÏµÈ 284ÆíÀÇ À̼٠¿ìȸ¦ 4±ÇÀ¸·Î ºÐ±ÇÇØ ¼Ò°³ÇØ µå¸³´Ï´Ù. Ç¥Áö¸¦ Á¦¿ÜÇÏ°í, 13Á¡ÀÇ Ä®¶ó »ðÈ¿Í 70¿©Á¡ÀÇ Èæ¹é »ðÈ°¡ Æ÷ÇԵǾî ÀÖ¾î º¸´Â ¸ÀÀ» ´õÇÕ´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 INTRODUCTION. Aesop embodies an epigram not uncommon in human history; his fame is all the more deserved because he never deserved it. The firm foundations of common sense, the shrewd shots at uncommon sense, that characterise all the Fables, belong not him but to humanity. In the earliest human history whatever is authentic is universal: and whatever is universal is anonymous. In such cases there is always some central man who had first the trouble of collecting them, and afterwards the fame of creating them. He had the fame; and, on the whole, he earned the fame. There must have been something great and human, something of the human future and the human past, in such a man: even if he only used it to rob the past or deceive the future.
¢¹ ¼·Ð. À̼ÙÀº Àηù ¿ª»ç¿¡¼ ¾ÆÁÖ µå¹°Áö ¾ÊÀº °æ±¸¸¦ ±¸ÇöÇÏ°í ÀÖ½À´Ï´Ù. ±×ÀÇ ¸í¼ºÀº ±×°¡ ±×·² ÀÚ°ÝÀÌ ÀüÇô ¾ø¾ú±â ¶§¹®¿¡ ´õ¿í ´õ ÀÚ°ÝÀÌ ÀÖ½À´Ï´Ù. ¸ðµç ¿ìȵéÀ» Ư¡Áþ´Â »ó½ÄÀÇ È®°íÇÑ ±âÃÊ, ÈçÇÏÁö ¾ÊÀº ÀǹÌÀÇ ºóÆ´¾ø´Â ÃÑÀâÀÌ´Â ±×°¡ ¾Æ´Ï¶ó ÀηùÀÇ °ÍÀÔ´Ï´Ù. Ãʱâ Àηù ¿ª»ç¿¡¼ Áø½ÇÇÑ °ÍÀº ¹«¾ùÀÌµç º¸ÆíÀûÀÌ¸ç º¸ÆíÀûÀÎ °ÍÀº À͸íÀÔ´Ï´Ù. ±×·± °æ¿ì¿¡ óÀ½¿¡´Â ±×°ÍµéÀ» ¼öÁýÇÏ´Â µ¥ ¾î·Á¿òÀ» °Þ¾ú°í, ³ªÁß¿¡´Â ±×°ÍµéÀ» ¸¸µå´Â µ¥ ¸í¼ºÀ» ¾ò¾ú´ø Á᫐ Àι°ÀÌ Ç×»ó ÀÖ½À´Ï´Ù. ±×´Â ¸í¼ºÀ» ¾ò¾ú°í, ÀüüÀûÀ¸·Î ¸í¼ºÀ» ¾ò¾ú½À´Ï´Ù. ±×·± »ç¶÷¿¡°Ô´Â À§´ëÇÏ°í Àΰ£ÀûÀÎ °Í, Áï °ú°Å¸¦ Åаųª ¹Ì·¡¸¦ ¼ÓÀÌ´Â µ¥¿¡¸¸ »ç¿ëÇß´õ¶óµµ ¸»ÀÔ´Ï´Ù.
¢º But whatever be fairly due to Aesop, the human tradition called Fables is not due to him. This had gone on long before any sarcastic freedman from Phrygia had or had not been flung off a precipice; this has remained long after. It is to our advantage, indeed, to realise the distinction; because it makes Aesop more obviously effective than any other fabulist. Grimm¡¯s Tales, glorious as they are, were collected by two German students. And if we find it hard to be certain of a German student, at least we know more about him than We know about a Phrygian slave. The truth is, of course, that Aesop¡¯s Fables are not Aesop¡¯s fables, any more than Grimm¡¯s Fairy Tales were ever Grimm¡¯s fairy tales. But the fable and the fairy tale are things utterly distinct. There are many elements of difference; but the plainest is plain enough. There can be no good fable with human beings in it. There can be no good fairy tale without them.
¢¹ ÇÏÁö¸¸ À̼٠¿ìÈ°¡ °øÁ¤ÇÏ°Ô ¾î¶² °ÍÀÌµç °£¿¡, ¿ìȶó°í ºÒ¸®´Â Àΰ£ÀÇ ÀüÅëÀº À̼٠¿ìÈ°¡ ¾Æ´Õ´Ï´Ù. ÀÌ°ÍÀº ÇÁ¸®±â¾Æ¿¡¼ ºñ²¿´Â ÀÚÀ¯ÀÎÀÌ º¶û¿¡¼ ÂѰܳª±âµµ Àü¿¡ ÀÌ¹Ì ¿À·¡ Àü¿¡ ÁøÇàµÇ¾ú°í, ±×·¸Áöµµ ¾Ê¾Ò°í, ±× ÈÄ¿¡µµ ¿À·§µ¿¾È ³²¾Æ ÀÖ¾ú½À´Ï´Ù. ±× Â÷À̸¦ ±ú´Ý´Â °ÍÀÌ ¿ì¸®¿¡°Ô À¯¸®ÇÕ´Ï´Ù. ±×¸²ÀÇ ¼³È´Â ¿µ±¤½º·´Áö¸¸, µÎ ¸íÀÇ µ¶ÀÏ ÇлýÀÌ ¼öÁýÇß½À´Ï´Ù. ±×¸®°í ¿ì¸®°¡ µ¶ÀÏ ÇлýÀ̶ó°í È®½ÅÇϱ⠾î·Æ´Ù¸é, Àû¾îµµ ¿ì¸®´Â ÇÁ¸®±â¾Æ ³ë¿¹¿¡ ´ëÇØ ¾Ë°í ÀÖ´Â °Íº¸´Ù ±×¿¡ ´ëÇØ ´õ ¸¹ÀÌ ¾Ë°í ÀÖ½À´Ï´Ù. ¹°·Ð, Áø½ÇÀº À̼٠¿ìÈ°¡ ±×¸²ÀÇ µ¿Èº¸´Ù ´õ ÀÌ»ó À̼٠¿ìÈ°¡ ¾Æ´Ï¶ó´Â °ÍÀÔ´Ï´Ù. ÇÏÁö¸¸ ¿ìÈ¿Í µ¿È´Â ¿ÏÀüÈ÷ ´Ù¸¥ °ÍµéÀÔ´Ï´Ù. ¸¹Àº Â÷ÀÌÁ¡ÀÌ ÀÖÁö¸¸, °¡Àå Æò¹üÇÑ °ÍÀº ÃæºÐÈ÷ ºÐ¸íÇÕ´Ï´Ù. ±× ¾È¿¡ ÀÖ´Â Àΰ£°ú ÁÁÀº ¿ìÈ´Â ÀÖÀ» ¼ö ¾ø½À´Ï´Ù. ±×°ÍµéÀÌ ¾ø´Â ÁÁÀº µ¿È´Â ÀÖÀ» ¼ö ¾ø½À´Ï´Ù.
¢º This is the immortal justification of the Fable: that we could not teach the plainest truths so simply without turning men into chessmen. We cannot talk of such simple things without using animals that do not talk at all. Suppose, for a moment, that you turn the wolf into a wolfish baron, or the fox into a foxy diplomatist. You will at once remember that even barons are human, you will be unable to forget that even diplomatists are men. You will always be looking for that accidental good-humour that should go with the brutality of any brutal man; for that allowance for all delicate things, including virtue, that should exist in any good diplomatist. Once put a thing on two legs instead of four and pluck it of feathers and you cannot help asking for a human being, either heroic, as in the fairy tales, or un-heroic, as in the modern novels.
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¢º ÇÁ·Ñ·Î±×(Prologue). Å׸¶¿©Çà½Å¹® TTN Korea ¿µ¾î°íÀü(English Classics) 1,999¼±À» Àоî¾ß ÇÏ´Â 7°¡Áö ÀÌÀ¯
¢º 12°¡Áö Å°¿öµå·Î Àд À̼Ù(Aesop, B.C.620~B.C.564)
01. ¼¼°è¿¡¼ °¡Àå À¯¸íÇÑ ¿ìÈÁý(éÕü¥ó¢), À̼٠¿ìÈ(Fables of Aesop)
02. À̼ÙÀº ½ÇÁ¸ÇÑ ¿ìÈÀÛ°¡ÀÌÀÚ À̾߱â²Û(Fabulist and Storyteller)Àΰ¡, ºÒƯÁ¤ ´Ù¼öÀÇ ÀÛ°¡±º(ÏØ)Àΰ¡?
03. À̼ÙÀº Ãæ°ÝÀûÀ¸·Î ¸ø»ý±ä ±×¸®½º ³ë¿¹(Strikingly Ugly Greek Slave)Àΰ¡, ¿¡Æ¼¿ÀÇÇ¾Æ Ãâ½ÅÀÇ ÈæÀÎ(Black African from Aethiopia)Àΰ¡?
04. À̼ٿ¡ °üÇÑ ¸Å¿ì Ç㱸ÀûÀÎ Àü±â(Highly Fictional Biography), À̼٠·Î¸Ç½º(The Aesop Romance)
05. À̼٠¿ìÈÀÇ Çö´ëÀûÀÎ ºÐ·ù¹ý, Æ丮 À妽º(Perry Index)
06. È£ÁÖ ·°¼Å¸® ÄÚ½º¸Þƽ ºê·£µå À̼Ù(A?sop)ÀÌ À̼ÙÀÎ ÀÌÀ¯´Â?(1987)
07. ¼¼»ó¿¡¼ °¡Àå Å« µ¿ÈÃ¥, ¿¡¹ö·£µå À̼٠ºô¸®Áö(Everland Aesop Village, 2005)
08. À̼ٿìÈ°¡ 21¼¼±â¿¡µµ ¿©ÀüÈ÷ ÀÐÈ÷´Â ÀÌÀ¯´Â?
09. À̼٠¿ìȸ¦ ¸¸³ª´Ù TOP13(TOP13 Places of Aesop¡¯s Fables)
10. À̼٠¿ìÈ ¿øÀÛÀÇ ¿µÈ, µå¶ó¸¶, ¾Ö´Ï¸ÞÀ̼Ç, À¥Å÷(Movie, Drama, Animation and Webtoon of Aesop¡¯s Fables in IMDb and Wikipedia)
11. ¿Àµð¿ÀºÏÀ¸·Î µè´Â À̼٠¿ìÈ(Audio Books of Aesop¡¯s Fables)
12. À̼٠¿ìÈ ¾î·Ï 101¼±(101 Quotes of Aesop¡¯s Fables)
¢º ¿µ¾î°íÀü1,313 À̼ÙÀÇ »õ·Ó°Ô ¹ø¿ªÇÑ À̼٠¿ìÈ¥° 1912(English Classics1,313 AESOP¡¯s Fables; A New Translation by AESOP)
INTRODUCTION
¢¹ AESOP¡¯s FABLES
001. The Fox And The Grapes
002. The Goose That Laid The Golden Eggs
003. The Cat And The Mice
004. The Mischievous Dog
005. The Charcoal-Burner And The Fuller
006. The Mice In Council
007. The Bat And The Weasels
008. The Dog And The Sow
009. The Fox And The Crow
010. The Horse And The Groom
011. The Wolf And The Lamb
012. The Peacock And The Crane
013. The Cat And The Birds
014. The Spendthrift And The Swallow
015. The Old Woman And The Doctor
016. The Moon And Her Mother
017. Mercury And The Woodman
018. The Ass, The Fox, And The Lion
019. The Lion And The Mouse
020. The Crow And The Pitcher
021. The Boys And The Frogs
022. The North Wind And The Sun
023. The Mistress And Her Servants
024. The Goods And The Ills
025. The Hares And The Frogs
026. The Fox And The Stork
027. The Wolf In Sheep¡¯s Clothing
028. The Stag In The Ox-Stall
029. The Milkmaid And Her Pail
030. The Dolphins, The Whales, And The Sprat
031. The Fox And The Monkey
032. The Ass And The Lap-Dog
033. The Fir-Tree And The Bramble
034. The Frogs' Complaint Against The Sun
035. The Dog, The Cock, And The Fox
036. The Gnat And The Bull
037. The Bear And The Travellers
038. The Slave And The Lion
039. The Flea And The Man
040. The Bee And Jupiter
041. The Oak And The Reeds
042. The Blind Man And The Cub
043. The Boy And The Snails
044. The Apes And The Two Travellers
045. The Ass And His Burdens
046. The Shepherd¡¯s Boy And The Wolf
047. The Fox And The Goat
048. The Fisherman And The Sprat
049. The Boasting Traveller
050. The Crab And His Mother
051. The Ass And His Shadow
052. The Farmer And His Sons
053. The Dog And The Cook
054. The Monkey As King
055. The Thieves And The Cock
056. The Farmer And Fortune
057. Jupiter And The Monkey
058. Father And Sons
059. The Lamp
060. The Owl And The Birds
061. The Ass In The Lion¡¯s Skin
062. The She-Goats And Their Beards
063. The Old Lion
064. The Boy Bathing
065. The Quack Frog
066. The Swollen Fox
067. The Mouse, The Frog, And The Hawk
068. The Boy And The Nettles
069. The Peasant And The Apple-Tree
070. The Jackdaw And The Pigeons
¢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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