19-5-76
This image of nature, demonstrating 'the fact that men and animals received the grace and gladness of spring', sets out the narrator's absolute truth ignored or forgotten by all the characters in the tale. The novel thus opens with a picture of resurrection in nature, seen only by the narrator and it is to this resurrection-- the experience of the biblical joy and gladness, which Tolstoy equated with the experience of the will of God, and the inner sense of peace, harmony, and love which marks the 'beauty of God's world'_ that the characters are called. Throughout the novel nature is invested with moral meaning, positive as here or in Nekhlyudov's epiphanic moments of moral resolve, or negative, as in the seduction scene or the prisoner's march through Moscow. Nekhlyudov's story is told as the gradual awakening to the meaning of the initial image of nature and thus as a discovery of the narrator's absolute truth.
This opening revelatory frame is itself surrounded by another, represented by the quotations from the Gospels in the epigraphs and in the final chapter of the work. These quotations comprise another level of absolute truth. The epigraphs stress three major truths: the necessary admission of guilt by all, the need for continual forgiveness by all for all, and the possibility of self-control and self-perfection for all. It is these truths that Nekhlyudov learns through his experience and finally is able to articulate through his reading from the Gospels in the last chapter.**
A. ¾îÈÖ
demonstrate ÒÕñû(³íÁõ)ÇÏ´Ù, ¼³¸íÇÏ´Ù, ¹ÛÀ¸·Î µå·¯³»´Ù. grace ¿ì¾Æ, °í»óÇÔ, ÀºÃÑ.
absolute Àý´ëÀûÀÎ. ignore ¹«½ÃÇÏ´Ù. character µîÀåÀι°. biblical á¡ßöîÜ(¼º¼Àû)ÀÎ.
biblical joy óÜðãñ«(âÁ¶ÁÖ)ÀÎ ãêÀÌ Áֽô Áñ°Å¿ò. equate with µ¿ÀϽÃÇÏ´Ù.
mark ³ªÅ¸³»´Ù. be called to á¯Ù¤(¼Ò¸í)µÇ´Ù. invest ¼ö¿©ÇÏ´Ù. positive ±àÁ¤ÀûÀÎ.
epiphanic moments ÅëÂûÀÇ ¼ø°£. cf. epiphany úéúÞ(ÇöÇö), Ù¥ãÆ(¸í½Ã). resolve °áÀÇ.
seduction scene À¯È¤ÀÇ Àå¸é. gradual awakening Á¡Â÷ÀûÀÎ °¢¼º. initial ÃʱâÀÇ.
revelatory ÌöãÆîÜ(°è½ÃÀû)ÀÎ. represent ´ëÇ¥ÇÏ´Ù, »ó¡ÇÏ´Ù. quotation ìÚéÄ(Àοë).
the Gospels ÜØëåßö(º¹À½¼). chapter íñ(Àå).
epigraph Àο빮, [ÏéÔé(±ÇµÎ).íñ(Àå)ÀÇ Ã¹¸Ó¸®¿¡ ½Æ´Â]ð¹Þö(Á¦»ç). comprise Æ÷ÇÔÇÏ´Ù.
stress °Á¶ÇÏ´Ù. admission ìãïÒ(ÀÎÁ¤), í»ìã(ÀÚÀÎ). guilt ÁË.
continual forgiveness by all for all ¸ðµÎ°¡ ¸ðµÎ¸¦ °è¼Ó ¿ë¼ÇÏ´Â °Í.
self-perfection Àڱ⸦ ¿Ïº®ÇÏ°Ô ¸¸µå´Â °Í. articulate ¸íÈ®È÷ øúÙ¥(Ç¥¸í)ÇÏ´Ù.
19-6-77
Resurrection also deviates from the conventions of the Western novel in its treatment of the plot of desire. In Tolstoy's version of the plot of desire, the story was used to tell a tale of metaphysical and religious quest in which the heroine is invested with the desired moral and spiritual qualities which the hero seeks. Resurrection reworks the tradition differently. It reduces the plot of desire to a past idyllic event, the summer romance of Prince Nekhlyudov and Katusha which later culminates in their symbolic wedding at the Easter service, marked by the shared kiss of peace. This union is then coercively consummated, and these two facts, the idyllic union and its forced consummation, although long forgotten, underlie the subsequent lives of the hero and heroine. The plot of desire is then replayed in the novel as a story of the resurrection of the original romance, first of the forced consummation and its dreadful consequence for the heroine, and only later of the idyllic union of love both once shared and now, in the end, rediscovered in a new form. This story of recovery of an original romance provides Tolstoy with a vehicle to tell a theological tale wherein the quest for the redemption of an orignal sin results in the uncovering and release of an original love, a genuine resurrection.**
A. ¾îÈÖ
deviate ¹þ¾î³ª´Ù, ìï÷(ÀÏÅ»)ÇÏ´Ù. convention °ü·Ê, ÇùÁ¤, Áýȸ. treatment ó¸®.
metaphysical û¡ì»ß¾ùÊîÜ(ÇüÀÌ»óÇÐÀû). quest ޱ¸. be invested with ¼ö¿© ¹Þ´Ù.
the desired moral and spiritual qualities µµ´öÀûÀ¸·Î, Á¤½ÅÀûÀ¸·Î ¹Ù¶÷Á÷ÇÑ ÀÚÁú.
rework ËÇïÒ(°³Á¤)ÇÏ´Ù. reduce Ãà¼ÒÇÏ´Ù.
a past idyllic event °ú°ÅÀÇ ÙÌʰîÜ(¸ñ°¡Àû) »ç°Ç(»ç¶û).
consummation ´Þ¼º, ±ØÄ¡, ¿Ï·á, (½Å¹æ¿¡ µê¿¡ µû¸¥) °áÈ¥ÀÇ ¿Ï·á.
forced consummation °¾ÐÀûÀÎ µ¿Ä§. Prince Nekhlyudov ³×Å©·ùµµÇÁ ÍëíÉ(°øÀÛ). culminate ÀýÁ¤¿¡ À̸£´Ù, ...·Î ³¡³ª´Ù. the Easter service ºÎȰÀý ¿¹¹è. union °áÇÕ. coercively °Á¦ÀûÀ¸·Î. consummate ð¢ïÇ(Á¤Á¡)¿¡ ´ÞÇÏ°Ô ÇÏ´Ù, ¿Ï·áµÇ´Ù.
underlie ...ÀÇ ±âÃʰ¡ µÇ´Ù. dreadful ¹«¼¿î. subsequent ±× ÀÌÈÄÀÇ. replay À翬ÇÏ´Ù. vehicle Àü´Þ¼ö´Ü, ¸Å°³¹°. theological ãêùÊîÜ(½ÅÇÐÀû)ÀÎ. wherein ±× ¾È¿¡...ÇÏ´Â.
redemption Ïð(±¸Á¦), áÛñª(¼ÓÁË) uncovering ³ëÃâ, ¹ß±¼. release ÇØ¹æ.
genuine ÁøÂ¥ÀÇ, òØàõ(Áø¼º)ÀÇ.
B. ±¸¹®
-although long forgotten¡æalthough they have been long forgotten.
¡æhaving been long forgotten¡ælong forgotten¡æalthough long forgotten.
-The plot of desire is . . . rediscovered in a new form.
cf. love both once shared and now, in the end, rediscovered
¡ælove which was both once shared and, in the end, has been rediscovered.
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