19-21-92
A major social issue of the 1890s about which Tolstoy had significant and strong views was the relationship between sex and love. In 1889 he completed The Kreutzer Sonata, in which he aired his belief that chastity is the ideal toward which all must strive, even in marriage. This work and the whole ascetic attitude it embodied evoked an enormous reaction during the decade in which Resurrection took place. **
In the novel Maslova, who is 'Love', is finally brought into close association with two emblematic figures, Mary Pavlovna and Simonson, both upper-class revolutionaries, sympathetic with the people, who embody Tolstoyan sexual views. Mary Pavlovna, Maslova's best friend, was repelled by sexual love, not like Maslova who had 'experienced all its horrors', but because, never having experienced it, 'she looked on it as something incomprehensible . . .repugnant and offensive to human dignity. Mary, on the other hand, knows another kind of love: 'the interest of her whole life lay in searching for opportunities to serve others just as the sportsman searches for game. And the sport had become the habit, the business of her life, and she did it all so naturally that those who knew her were no longer grateful, but simply expected it of her.' Mary thus embodies the 'task of life' as Tolstoy had come to understand it: 'the task of life is to work out in oneself a conscious love which of itself is transformed into an unconscious love', a task which is in reality the creation of the 'habit' of love.
A. ¾îÈÖ
significant Áß´ëÇÑ. complete ¿Ï¼ºÇÏ´Ù. air ¹ßÇ¥ÇÏ´Ù. chastity ¼ø°á, ïöðÃ(Á¤Á¶).
strive-strove-striven or strive-strived-strived ³ë·ÂÇÏ´Ù, ¾Ö¾²´Ù. ascetic ±Ý¿åÁÖÀÇÀÇ.
embody ±¸Ã¼ÀûÀ¸·Î ³ªÅ¸³»´Ù. evoke ȯ±â½ÃŰ´Ù. enormous °Å´ëÇÑ.
association ±³Á¦, °ü·Ã, Çùȸ. emblematic figures »ó¡ÀûÀÎ Àι°µé.
upper-class »ó·ù°è±Þ. sympathetic µ¿Á¤ÀûÀÎ. repel ÅðÂ¥³õ´Ù, ÂѰܳª´Ù.
horror °øÆ÷, îúëÐ(ÀüÀ²). incomprehensible ÀÌÇØÇÒ ¼ö ¾ø´Â. repugnant ½ÈÀº, ºÒÄèÇÑ.
offensive ȳª°Ô ÇÏ´Â, ºÒÄèÇÑ. grateful °í¸¿°Ô »ý°¢ÇÏ´Â. work out ¼ºÃëÇÏ´Ù.
conscious ÀǽÄÇϰí ÀÖ´Â. transform º¯ÇüÇÏ´Ù. unconscious ¹«ÀǽÄÀûÀÎ.
B. ±¸¹®
-This work and the whole . . . an enormous reaction.
[ÀÌ ÀÛǰ°ú ÀÌ ÀÛǰÀÌ ±¸ÇöÇϰí ÀÖ´Â ±Ý¿åÀûÀΠŵµ´Â °Å´ëÇÑ ¹ÝÀÀ(¹ÝÀÛ¿ë)À» ÀÏÀ¸Ä×´Ù.]
19-22-93
Simonson is in love with Maslova, and they intend to marry. But Simonson believes that 'procreation is a lower function of man', so that, since he has devoted himself to 'the higher function' which is 'to serve already existing lives', the marriage will be platonic. Unlike Mary Pavlovna, however, Simonson's devotion to service is built on a whole theory of life. 'Everything in the universe lives, nothing is dead, and all the objects we consider lifeless, or inorganic' are but parts of an enormous organic body which we cannot compass. The task of man, as part of that huge organism, is to sustain its life and that of all its living parts. This view, which echoes a position held by Tolstoy since the 1870s, leads Simonson to a Tolstoyan condemnation of destruction of life, wars, capital punishment, and even the killing of animals. Like his creator, he is a vegetarian and does not wear animal skins. Like Mary Pavlovna, therefore, Simonson embodies ideals toward which Tolstoy felt called, but himself had difficulty approaching. Maslova's marriage to him, like her friendship with Mary Pavlovna, marks her realization of those ideals which Nekhlyudov, in his renewed interest in marriage and a family at the end, has, like his creator, not yet reached.
A. ¾îÈÖ
procreation Ãâ»ê, ßæãÖ(»ý½Ä). function ±â´É. so that ±×·¯¹Ç·Î. devote Çå½ÅÇÏ´Ù.
platonic Á¤½ÅÀûÀÎ, °ü³äÀûÀÎ. all the objects ¿ìÁÖÀÇ ¸ðµç »ç¹°µé. inorganic ¹«±â¹°ÀÇ.
organic body êóѦô÷(À¯±âü). compass ÀÌÇØÇÏ´Ù, µÑ·¯½Î´Ù. sustain À¯ÁöÇÏ´Ù.
condemnation ºñ³, ÁËÀÇ ¼±°í. capital punishment ÞÝúý(»çÇü).
creator [îÊíº(ÀúÀÚ, Å罺ÅäÀ̸¦ °¡¸®Å´]. vegetarian ä½ÄÁÖÀÇÀÚ.
animal skins µ¿¹°°¡Á×À¸·Î ¸¸µç ¿Ê. realization ãùúÞ(½ÇÇö).
B. ±¸¹®
- Simonson embodies . . . difficulty approaching.
[SimonsonÀº Å罺ÅäÀ̰¡ á¯Ù¤(¼Ò¸í)À» ¹Þ¾Ò´Ù°í ´À³¢Áö¸¸ ÀÚ½ÅÀÌ Á÷Á¢ Á¢±ÙÇϱ⿡´Â ¾î·Á¿ü´ø ÀÌ»óÀ» ÎýúÞ(±¸Çö)ÇÏ´Â Àι°ÀÌ´Ù.]
cf. called ¸ñÀûº¸¾î·Î ¾²ÀÎ °ú°ÅºÐ»ç.
19-23-94
The novel closes with a rapid series of revelatory encounters which prepare Nekhlyudov for his final insight and his 'new life'. After the culminating realization of the ultimate meaning of the Russian prison experience based on so much exposure to the prisoners and their imprisoners, Nekhlyudov dines with a general and his family, only to discover that he still enjoys the company of cultured people and the joys of family life. His last 'interview with Maslova finally clarifies their relationship: she is marrying Simonson for Nekhlyudov's sake, to release him from his pursuit of redemption. This desire and freedom to create a new life is tempered by the finality of death which Nekhlyudov confronts with the sight of Kriltov's dead body. The most significant of these encounters, however, is the emblematic meeting with a 'dishevelled old man'. Like Levin and his conversation with Platon at the end of Anna Karenina, or Pierre and his meeting up with Bazdeev the mason and Platon Karataev in War and Peace, Nekhlyudov at this culminating moment chances upon a passer-by who bodies forth a truth necessary to him at this juncture in life. With no name, no age, no parents, no place, no country, or no passport, this 'Man', born of 'God the Father and Mother Earth', has no destination, except 'where God may lead me' and does not believe in God as ordinarily understood, but only in himself, understood as the one spirit in him as in all. This emblematic 'Man' reveals to Nekhlyudov his true identity and vocation, thus motivating his return to the Gospels which closes the novel and the new task of life which awaits him after it. Resurrection ends, thus, as do both War and Peace and Anna Karenina, with the hero's firm resolve for his life now understood as a life in God. It is this resolve that Tolstoy too in the end shares with his heroes.
A. ¾îÈÖ
revelatory ÌöãÆîÜ(°è½ÃÀû)ÀÎ. encounter (»ç¶÷µé°úÀÇ)¶æ¹ÛÀÇ ¸¸³², ðäéç(Á¶¿ì).
insight ÅëÂû. culminate ÃÖ°íÁ¶¿¡ À̸£´Ù. realization ±ú´ÞÀ½, ÀÌÇØ. ultimate ±Ã±ØÀûÀÎ.
exposure ³ëÃâ, Æø·Î. imprisoner Åõ¿Á½ÃŰ´Â »ç¶÷. dine ½Ä»çÇÏ´Ù. company Ä£±³.
clarify ¸í¹éÈ÷ ÇÏ´Ù. release ÇØ¹æ½ÃŰ´Ù. pursuit Ãß±¸. temper °¡¶ó¾ÉÈ÷´Ù, ¿ÏÈÇÏ´Ù.
finality ÃÖÈÄ, ÃÖÈÄÀûÀÎ »ç¹°. Kriltov ¡°ºÎȰ¡±¿¡ ³ª¿À´Â Á¤Ä¡¹ü À̸§.
dishevelled ÅÓ¼ö·èÇÑ. mason à´â¢(¼®¼ö). chance upon ¿ì¿¬È÷ ¸¶ÁÖÄ¡´Ù.
body forth »ó¡ÇÏ´Ù, ô÷úÞ(üÇö)ÇÏ´Ù. juncture Áß´ëÇÑ ½Ã±â, Àý¹ÚÇÑ °íºñ.
destination ¸ñÀûÁö. emblematic »ó¡ÀûÀÎ. reveal ¾Ë¸®´Ù, °è½ÃÇÏ´Ù.
vocation ÞÅÙ¤(»ç¸í), õÁ÷, Á÷¾÷. the Gospels ÜØëåßö(º¹À½¼).
firm resolve È®°íÇÑ °á½É.
B. ±¸¹®
- does not believe in . . . in him as in all.
cf. God as ordinarily understood¡æGod as being ordinarily understood
[ ÀϹÝÀûÀ¸·Î ÀÌÇØµÇ´Â ãêÀ» ¹Ï´Â °ÍÀÌ ¾Æ´Ï¶ó ±× ÀڽŰú ¸ðµç »ç¶÷ ¼Ó¿¡ ÀÖ´Â ÇϳªÀÇ Á¤½ÅÀ» ¹Ï´Â´Ù.]
- firm resolve . . . a life in God.
[ÀÌÁ¦ Çϳª´Ô ¾È¿¡¼ÀÇ »îÀ¸·Î ÀÌÇØµÇ´Â »îÀ» À§ÇÑ È®°íÇÑ °áÀÇ.]
ÇÑ´«¿¡ º¸´Â
º£½ºÆ® ±â»ç
- 1 ÇØ¼öºÎ 'ºÎ»ê ÀÎÀç'´Â ¾î¶»°Ô ¹ß±¼ÇØ¾ß Çϳª
- 2 ¹®Çå(ÙþúÌ)°ú ¼Ã¥(ßöóü)ÀÇ Â÷ÀÌ
- 3 ÀÌÀç¸í ´ëÅë·ÉÀº ÀÚ½ÅÀ» À§Çؼ¶óµµ °ÅºÎ±ÇÀ» Çà»çÇØ¾ß!
- 4 À±¼®¿°ú ±è¿ëÇö, Dumb and Dumber
- 5 'ùÛÏÐ ÙãáÔìÑ æêîî'À» Àаí
- 6 ºÒ¹ý°ú °ÅÁþ¸» °ø°³¼±µ¿ ¹ý´ë±³¼ö¸¦ ÀÚ¸£Áö ¾Ê´Â ±¹¹Î´ëÇÐ
- 7 û¿Í´ë¸¦ ¿Å±â¸é Á¤±ÇÀÌ ¸ÁÇÏ°í ¼öµµ¸¦ ¿Å±â¸é ³ª¶ó°¡ ¸ÁÇÑ´Ù!
- 8 ºÏÇÑ ±¹¹ÎÀÇ ´«°ú ±Í¸¦ ¸·´Â »ç¶÷µé
- 9 ÀÌÀç¸í ´ëÅë·ÉÀÇ ÇØº´´ë µ¶¸³ ÃßÁøÀº ½ÅÁßÇØ¾ß
- 10 ¾ð·ÐÀÌ ºÐ ´ÜÀ§·Î º¸µµÇÏ´Â ´ÙÄ«ÀÌÄ¡ ÀϺ» ¼ö»óÀÇ ÇÏ·ç












