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¡¶Èĵðºê¶ó½º¡·´Â »õ¹Â¾ó ¹öƲ·¯(Samuel Butler)°¡ ¾´ dzÀڽ÷Π1663³â¿¡ óÀ½ ÃâÆǵǾú´Ù. ¼¼ ºÎºÐÀ¸·Î ³ª´©¾îÁ® ÀÖÀ¸¸ç ¿ÕÁ¤º¹°í±â ¿µ¹®Çп¡¼ °¡Àå Áß¿äÇÑ Ç³Àڽà Áß Çϳª·Î Æò°¡µÈ´Ù.
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¹öƲ·¯´Â Èĵðºê¶ó½º °æ(Sir Hudibras)ÀÇ Ä³¸¯Å͸¦ ÅëÇØ ³²ºÏ ÀüÀï ½Ã´ëÀÇ Ã»±³µµ¿Í ¿Õ´çÆÄ ¸ðµÎ¿¡¼ ÀÚ½ÅÀÌ ÀÎÁöÇÑ À§¼±, ±¤½ÅÁÖÀÇ, ºÎÁ¶¸®¸¦ ºñÆÇÇÏ°í ÀÖ´Ù. ÀÌ ½Ã´Â ±× ½Ã´ëÀÇ Á¾±³ ¹× Á¤Ä¡ ÀλçµéÀÇ À̳ä°ú ÇൿÀ» dzÀÚÇÏ´Â ÀçÄ¡ ÀÖ´Â ´ëÈ, ¿µ¸®ÇÑ ¸»Àå³, À¯¸Ó·¯½ºÇÑ »óȲÀ¸·Î °¡µæ Â÷ ÀÖ´Ù.
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¡°Hudibrass¡± is a satirical poem written by Samuel Butler and first published in 1663. Divided into three parts, it is considered one of the most important satirical poems in English literature of the Restoration.
This poem is written in the form of a mock narrative, meaning that it deals with contemporary political and social issues while parodying the conventions of epic poetry. ¡°Hudibras¡± tells the story of Presbyterian knight Hudibras and his squire Ralpho. The characters experience various misadventures that satirize the political and religious conflicts of the time, particularly the English Civil War and its aftermath.
Through the character of Sir Hudibras, Butler criticizes the hypocrisy, fanaticism, and absurdity he perceives in both the Puritans and Loyalists of the Civil War era. The poem is full of witty dialogue, clever puns, and humorous situations that satirize the ideologies and actions of religious and political figures of the time.
"Hudibras" was enormously popular at the time and was widely read and quoted. The work influenced later satirists such as Alexander Pope and Jonathan Swift and remains a classic example of British satire. Butler's use of satire in "Hudibras" not only entertained readers but also provided critical commentary on the turbulent political and religious landscape of 17th-century England.
Summary
Sir Hudibras his passing worth,
The manner how he sallied forth;
His arms and equipage are shown;
His horse's virtues, and his own.
Th' adventure of the bear and fiddle
Is sung, but breaks off in the middle.
Contents
PART I
CANTO I .THE ARGUMENT
CANTO II. THE ARGUMENT.
CANTO III. THE ARGUMENT.
PART II
CANTO I THE ARGUMENT.
CANTO II THE ARGUMENT.
CANTO III. THE ARGUMENT
PART III.
CANTO I. THE ARGUMENT.
CANTO II. THE ARGUMENT.
CANTO III THE ARGUMENT.