¢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°íÀü1,316 À̼ÙÀÇ »õ·Ó°Ô ¹ø¿ªÇÑ À̼٠¿ìÈ¥³ 1912(English Classics1,316 AESOP¡¯s Fables; A New Translation by AESOP)
INTRODUCTION
¢¹ AESOP¡¯s FABLES
211. The Sheep And The Dog
212. The Shepherd And The Wolf
213. The Lion, Jupiter, And The Elephant
214. The Pig And The Sheep
215. The Gardener And His Dog
216. The Rivers And The Sea
217. The Lion In Love
218. The Bee-Keeper
219. The Wolf And The Horse
220. The Bat, The Bramble, And The Seagull
221. The Dog And The Wolf
222. The Wasp And The Snake
223. The Eagle And The Beetle
224. The Fowler And The Lark
225. The Fisherman Piping
226. The Weasel And The Man
227. The Ploughman, The Ass, And The Ox
228. Demades And His Fable
229. The Monkey And The Dolphin
230. The Crow And The Snake
231. The Dogs And The Fox
232. The Nightingale And The Hawk
233. The Rose And The Amaranth
234. The Man, The Horse, The Ox, And The Dog
235. The Wolves, The Sheep, And The Ram
236. The Swan
237. The Snake And Jupiter
238. The Wolf And His Shadow
239. The Ploughman And The Wolf
240. Mercury And The Man Bitten By An Ant
241. The Wily Lion
242. The Parrot And The Cat
243. The Stag And The Lion
244. The Impostor
245. The Dogs And The Hides
246. The Lion, The Fox, And The Ass
247. The Fowler, The Partridge, And The Cock
248. The Gnat And The Lion
249. The Farmer And His Dogs
250. The Eagle And The Fox
251. The Butcher And His Customers
252. Hercules And Minerva
253. The Fox Who Served A Lion
254. The Quack Doctor
255. The Lion, The Wolf, And The Fox
256. Hercules And Plutus
257. The Fox And The Leopard
258. The Fox And The Hedgehog
259. The Crow And The Raven
260. The Witch
261. The Old Man And Death
262. The Miser
263. The Foxes And The River
264. The Horse And The Stag
265. The Fox And The Bramble
266. The Fox And The Snake
267. The Lion, The Fox, And The Stag
268. The Man Who Lost His Spade
269. The Partridge And The Fowler
270. The Runaway Slave
271. The Hunter And The Woodman
272. The Serpent And The Eagle
273. The Rogue And The Oracle
274. The Horse And The Ass
275. The Dog Chasing A Wolf
276. Grief And His Due
277. The Hawk, The Kite, And The Pigeons
278. The Woman And The Farmer
279. Prometheus And The Making Of Man
280. The Swallow And The Crow
281. The Hunter And The Horseman
282. The Goatherd And The Wild Goats
283. The Nightingale And The Swallow
284. The Traveller And Fortune
¢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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