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¿µ¾î°íÀü1,314 À̼ÙÀÇ »õ·Ó°Ô ¹ø¿ªÇÑ À̼٠¿ìÈ­¥± 1912(English Classics1,314 AESOP¡¯s Fables; A New Translation by AESOP)


¿µ¾î°íÀü1,314 À̼ÙÀÇ »õ·Ó°Ô ¹ø¿ªÇÑ À̼٠¿ìÈ­¥± 1912(English Classics1,314 AESOP¡¯s Fables; A New Translation by AESOP)

¿µ¾î°íÀü1,314 À̼ÙÀÇ »õ·Ó°Ô ¹ø¿ªÇÑ À̼٠¿ìÈ­¥± 1912(English Classics1,314 AESOP¡¯s Fables; A New Translation by AESOP)

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¢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¿ìÈ­¸¦ 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 ¿ìÈ­µéÀ» 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 °£¿¡, ¿ìÈ­¶ó°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.

¢¹ ÀÌ°ÍÀÌ ¿ìÈ­ÀÇ ºÒ¸êÀÇ Á¤´ç¼ºÀÔ´Ï´Ù. Àΰ£À» ü½º µÎ´Â »ç¶÷À¸·Î ¸¸µéÁö ¾Ê°í¼­´Â °¡Àå ´Ü¼øÇÑ Áø¸®¸¦ °¡¸£Ä¥ ¼ö ¾ø´Ù´Â °ÍÀÔ´Ï´Ù. ¿ì¸®´Â ±×·± ´Ü¼øÇÑ °Íµé¿¡ ´ëÇØ ÀüÇô ¸»ÇÏÁö ¾Ê´Â µ¿¹°µéÀ» »ç¿ëÇÏÁö ¾Ê°í¼­´Â À̾߱âÇÒ ¼ö ¾ø½À´Ï´Ù. Àá½Ã µ¿¾È, ´Á´ë¸¦ ´Á´ë °°Àº ³²ÀÛÀ¸·Î, ¿©¿ì¸¦ ¿©¿ì°°Àº ¿Ü±³°üÀ¸·Î ¹Ù²Û´Ù°í °¡Á¤Çغ¾½Ã´Ù. ³²ÀÛµµ Àΰ£À̶ó´Â °ÍÀ», ¿Ü±³°üµµ Àΰ£À̶ó´Â °ÍÀ» ´Ü¹ø¿¡ ±â¾ïÇÒ °ÍÀÔ´Ï´Ù. ´ç½ÅÀº ¾ðÁ¦³ª ¾î¶² ÀÜÀÎÇÑ »ç¶÷ÀÇ ÀÜÀÎÇÔ°ú ¾î¿ï·Á¾ß ÇÏ´Â ¿ì¿¬ÇÑ ÁÁÀº À¯¸Ó¸¦ ã°Ô µÉ °ÍÀÔ´Ï´Ù. ¿Ö³ÄÇÏ¸é ¾î¶² ÁÁÀº ¿Ü±³°ü¿¡°Ôµµ Á¸ÀçÇØ¾ß ÇÏ´Â ¹Ì´öÀ» Æ÷ÇÔÇÑ ¸ðµç ¼¶¼¼ÇÑ °Íµé¿¡ ´ëÇÑ Çã¿ë ¶§¹®ÀÔ´Ï´Ù. ÀÏ´Ü ³× ¹ß ´ë½Å µÎ ´Ù¸®·Î ¹°°ÇÀ» ³õ°í ±êÅÐÀ» »ÌÀ¸¸é µ¿È­¿¡¼­Ã³·³ ¿µ¿õÀûÀ̰ųª Çö´ë ¼Ò¼³¿¡¼­Ã³·³ ºñ¿µ¿õÀûÀ̰ųª µÑ Áß ÇϳªÀÎ Àΰ£À» ¹¯Áö ¾ÊÀ» ¼ö ¾ø½À´Ï´Ù.

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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¿ìÈ­¸¦ ¸¸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°íÀü1,314 À̼ÙÀÇ »õ·Ó°Ô ¹ø¿ªÇÑ À̼٠¿ìÈ­¥± 1912(English Classics1,314 AESOP¡¯s Fables; A New Translation by AESOP)
INTRODUCTION
¢¹ AESOP¡¯s FABLES
071. Jupiter And The Tortoise
072. The Dog In The Manger
073. The Two Bags
074. The Oxen And The Axletrees
075. The Boy And The Filberts
076. The Frogs Asking For A King
077. The Olive-Tree And The Fig-Tree
078. The Lion And The Boar
079. The Walnut-Tree
080. The Man And The Lion
081. The Tortoise And The Eagle
082. The Kid On The Housetop
083. The Fox Without A Tail
084. The Vain Jackdaw
085. The Traveller And His Dog
086. The Shipwrecked Man And The Sea
087. The Wild Boar And The Fox
088. Mercury And The Sculptor
089. The Fawn And His Mother
090. The Fox And The Lion
091. The Eagle And His Captor
092. The Blacksmith And His Dog
093. The Stag At The Pool
094. The Dog And The Shadow
095. Mercury And The Tradesmen
096. The Mice And The Weasels
097. The Peacock And Juno
098. The Bear And The Fox
099. The Ass And The Old Peasant
100. The Ox And The Frog
101. The Man And The Image
102. Hercules And The Waggoner
103. The Pomegranate, The Apple-Tree, And The Bramble
104. The Lion, The Bear, And The Fox
105. The Blackamoor
106. The Two Soldiers And The Robber
107. The Lion And The Wild Ass
108. The Man And The Satyr
109. The Image-Seller
110. The Eagle And The Arrow
111. The Rich Man And The Tanner
112. The Wolf, The Mother, And Her Child
113. The Old Woman And The Wine-Jar
114. The Lioness And The Vixen
115. The Viper And The File
116. The Cat And The Cock
117. The Hare And The Tortoise
118. The Soldier And His Horse
119. The Oxen And The Butchers
120. The Wolf And The Lion
121. The Sheep, The Wolf, And The Stag
122. The Lion And The Three Bulls
123. The Horse And His Rider
124. The Goat And The Vine
125. The Two Pots
126. The Old Hound
127. The Clown And The Countryman
128. The Lark And The Farmer
129. The Lion And The Ass
130. The Prophet
131. The Hound And The Hare
132. The Lion, The Mouse, And The Fox
133. The Trumpeter Taken Prisoner
134. The Wolf And The Crane
135. The Eagle, The Cat, And The Wild Sow
136. The Wolf And The Sheep
137. The Tunny-Fish And The Dolphin
138. The Three Tradesmen
139. The Mouse And The Bull
140. The Hare And The Hound
¢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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