Leo Tolstoy's Resurrection ¨ê

The story of Prince Nekhlyudov opens with his awakening to the recollection of his call to jury duty.
19-7-78
The story of Prince Nekhlyudov opens with his awakening to the recollection of his call to jury duty. At court he learns that the case involves a prostitute being tried for murder. She takes the stand and says her name is 'Love', but Nekhlyudove knows that this 'Love' is his long-forgotten, beloved Katusha, whom in a panic he now recalls he had violated, paid off, and abandoned. Resurrection thus opens, in a fashion characteristic of Tolstoy's emblematic realism, with Prince Nekhlyudov, a failed artist, being called to judge a 'Love' he has brought to ruin.
But the panic recollection is told in an extended flashback from the vantage-point of the narrator's absolute truth, which marks the distance between the memory and Nekhlyudov's willingness to acknowledge the significance and consequences of the past events:

He felt himself in the position of a puppy, when its master, taking it by the scruff of the neck, rubs its nose in the mess it has made. The puppy whines, draws back, and wants to get away as far as possible from the effects of its misdeed, but the pitiless master does not let it go. And so Nekhlyudov, feeling all the repulsiveness of what he had done, felt also the powerful hand of the Master, but he did not yet understand the whole significance of his action and would not recognize the Master's hand.

A. ¾îÈÖ
awakening °¢¼º, ±ú´ÞÀ½. recollection ȸ»ó. jury duty ¹è½É¿ø Àǹ«. case ÀçÆÇ»ç°Ç.
prostitute being tried for murder »ìÀÎÁË·Î ÀçÆÇÀ» ¹Þ°í ÀÖ´Â ¸ÅÃáºÎ.
takes the stand ÁõÀδ뿡 ¼­´Ù. 'Love'¡æKatusha. beloved »ç¶û½º·¯¿î. Katusha ¡°ºÎȰ¡±ÀÇ ¿©ÀÚÁÖÀΰø. panic ´çȲÇÔ, °øÆ÷. characteristic of ...¿¡÷åêó(ƯÀ¯)ÇÑ. emblematic »ó¡ÀûÀÎ.
realism ÞÐãùñ«ëù(»ç½ÇÁÖÀÇ). ruin ÆÄ¸ê. extended È®ÀåµÈ, Àå±â°£¿¡ °ÉÄ£. vantage-point À¯¸®ÇÑ À§Ä¡(ÁöÀ§). absolute truth Àý´ëÀû Áø½Ç. acknowledge ÀÎÁ¤ÇÏ´Ù. significance ÀǹÌ, Áߴ뼺. puppy °­¾ÆÁö. scruff ¸ñ´ú¹Ì. rub ¹®Áö¸£´Ù, ´Û´Ù.
mess Üô̾(ºÒ°á), µÚÁ×¹ÚÁ×. whine ¿ì´Â ¼Ò¸®¸¦ ÇÏ´Ù. misdeed ºñÇà. pitiless ¹«Á¤ÇÑ.
repulsiveness ºÒÄèÇÔ, Çø¿À°¨. the Master Àý´ëÀû Áø¸®·Î¼­ÀÇ ãêÀ» ÀǹÌÇÔ.

B.±¸¹®
-whom in a panic. . . and abandoned.
cf. violated, paid off, abandoned ÀÇ ¸ñÀû¾î´Â whom.
[±×´Â ±×³à¸¦ Ûó(¹ü)ÇÏ°í µ·À» ÁÖ°í ¹ö·È´Ù´Â °ÍÀ» ´çÈ²ÇØ Çϸç ȸ»óÇÑ´Ù.]
-with Prince Nekhlyudov. . . brought to ruin.
cf. with+¸í»ç+ing/pp.¡æ µ¶¸³ºÐ»ç±¸¹®ÀÇ ºÎ´ë»óȲ.
ex. Resurrection opens, and Nekhlyudov is called. . .
¡æResurrection opens, Nekhlyudov being called. . .
¡æResurrection opens with Nekhlyudov being called. . .
[½ÇÆÐÇÑ È­°¡ÀÎ Nekhlyudov °øÀÛÀÌ ±×°¡ ÆÄ¸ê½ÃŲ 'Love'(=Katusha)¶ó´Â ¿©ÀÎÀ» ½ÉÆÇÇϵµ·Ï ¿äû ¹ÞÀ¸¸é¼­ ¡°ºÎȰ¡±Àº ½ÃÀ۵ȴÙ.]

19-8-79
The Master's hand is ultimately recognized only at the very end when, in reading the Gospels, Nekhlyudov discovers that 'the Master's will is expressed' in the Sermon on the Mount. The intervening story represents the struggle within Nekhlyudov between his 'animal self' and his 'spiritual self', between that aspect of his being represented by his physical, bodily needs, his socially acquired structures of desires, and his self-centered way of seeing the world and that aspect of his being which is morally grounded and rationally ordered, selflessly open to others and their plight, and receptive to the call of the Divine. Throughout the novel the narrator speaks of these two modes of being, and often moments are marked, as here, by animal similes which tell of the psychological or moral state of the character. Each stage in the unfolding drama of resurrection is understood as a tearing away of the 'crust' of animality' from the ever-present, if forgotten, 'divine self'.
The first major moment of resurrection occurs when Nekhlyudov finally acknowledges the past event. Maslova has been unfairly judged by the jury and mistakenly sentenced by the court, and Nekhlyudov, to avoid dealing with his own present responsibility for this new injustice, goes off to dinner at the Korchagin's, the home of his fiancee Missy. But now Nekhlyudov sees anew Missy's father, who is 'chewing carefully with his false teeth and lifting his bloodshot eyes':

A. ¾îÈÖ
ultimately ±Ã±ØÀûÀ¸·Î, ÃÖÈÄ·Î. 'the Master's' will ÁÖ´Ô(¿¹¼ö ±×¸®½ºµµ)ÀÇ ¶æ.
the Sermon on the Mount ߣ߾á÷ýº(»ê»ó¼öÈÆ). intervening story »çÀÌ¿¡ ³¢ÀÎ À̾߱â.
aspect »óȲ, û¡á§(Çü¼¼). his being ±×ÀÇ Á¸Àç(½ÇÀç). acquire ½ÀµæÇÏ´Ù.
morally grounded µµ´öÀûÀ¸·Î ±Ù°Å°¡ ÀÖ´Â. rationally ordered ÇÕ¸®ÀûÀ¸·Î Á¤µ·µÈ.
plight óÁö, ÍÝÌÑ(°ï°æ). receptive Àß ¹Þ¾ÆµéÀÌ´Â, °¨¼ö¼ºÀÌ ¿¹¹ÎÇÑ.
call ºÎ¸§, á¯Ù¤(¼Ò¸í). the Divine ãê, ãêàõ(½Å¼º).
two modes of being Á¸ÀçÀÇ µÎ åÆßÓ(¾ç»ó). simile òÁêç(Á÷À¯). stage ´Ü°è, °úÁ¤.
unfold Àü°³ÇÏ´Ù, ³ªÅ¸³»´Ù. tear Âõ´Ù, ¶¼¾î³»´Ù. crust èâù«(¿ÜÇÇ), ºÎ½º·³µüÁö, »§Á¶°¢.
ever-present Ç×»ó Á¸ÀçÇÏ´Â. Maslova=Kathusa. sentence ¼±°íÇÏ´Ù. unfairly ºÎ´çÇϰÔ.
avoid ÇÇÇÏ´Ù. deal with ó¸®ÇÏ´Ù. injustice ºÒ°øÁ¤, ºÎÁ¤ÇàÀ§. fiancee ¾àÈ¥³à.
chew ¾Ã´Ù. false teeth ëùöÍ(ÀÇÄ¡). bloodshot õöúì(ÃæÇ÷)µÈ.

B. ±¸¹®
-that aspect of his being. . . seeing the world.
cf. his being represented by...¡æhis being which is represented by
cf. ¸í»ç/Çü¿ë»ç/ºÎ»ç + ing/pp¡æ º¹ÇÕÇü¿ë»ç
ex. self-centered ÀÚ±â Áß½ÉÀûÀÎ. good-looking Àß »ý±ä. well-known À¯¸íÇÑ.
[ ±×ÀÇ ¹°¸®Àû, ½ÅüÀû ¿å±¸, »çȸÀûÀ¸·Î ½ÀµæµÈ ¿å¸Á±¸Á¶, ±×¸®°í ÀÚ±âÁß½ÉÀûÀ¸·Î ¼¼»óÀ» º¸´Â ¹æ¹ý¿¡ ÀÇÇØ¼­ ´ëÇ¥µÇ´Â ±×ÀÇ Á¸ÀçÀÇ ±×·± »óȲ.]
-if forgotten¡æthough forgotten¡æif it(divine self) is forgotten.
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