Leo Tolstoy's Resurrection ¨ë

The issue is not simply some past sin against 'Love', but his failure to love right now.
19-9-80
Though Nekhlyudov knew Korchagin very well, and had often seen him at dinner, today this red face with the sensual, smacking lips, the fat neck above the napkin stuck into his waistcoat, and the whole overfed military figure, struck him very disagreeably. Nekhlyudov involuntarily remembered what he knew of the cruelty of this man, who, when in command, used to have men flogged, and even hanged, without rhyme or reason, simply because he was rich and had no need to curry favor.
Korchagin's 'animal self', represented in a typical Tolstoyan close-up, now reveals his social role, as a man of wealth and station who uses his power over others to the point of cruelty. In a manner characteristic of the novel, the physical details are used not so much to depict Korchagin as to suggest the moral qualities (flabbiness, self-indulgence) of a cruel, rich man.
Nekhlyudov's insight into the immorality of Korchagin's social position is followed by other insights into the moral failings of his fiancee and his own mother, recently dead. Everything seems 'shameful and horrid, horrid and shameful'. Then suddenly he recalls Maslova and, recollecting the days of yore, 'a breath of that freshness, youth and fullness of life seemed to touch him'. The remembrance of things past restores his memory of self: 'then he was free and fearless, and innumerable possibilities lay ready to open before him; now he felt himself caught in the meshes of a stupid, empty, valueless, frivolous life.' He wants simultaneously extricate himself from his present mess and 'atone for his sin against Katusha'.

A. ¾îÈÖ
sensual °¨°¢ÀûÀÎ, °ü´ÉÀûÀÎ. smacking ÀÔ¸ÀÀ» ´Ù½Ã´Â, Çô¸¦ Â÷´Â.
stick-stuck-stuck Â´Ù, ¹ÚÈ÷´Ù. napkin stuck=napkin which was stuck.
strike-struck-struck ...¿¡ ÀλóÀ» ½É´Ù. disagreeably ºÒÄèÇϰÔ.
overfed ³Ê¹« ¸¹ÀÌ ¸ÔÀº. figure Àι°. involuntarily ¹«ÀǽÄÀûÀ¸·Î, ºñÀÚ¹ßÀûÀ¸·Î.
cruelty ÀÜÀÎÇÔ. characteristic ƯÀ¯ÀÇ, Ư¡ÀûÀÎ. details »ó¼¼ÇÑ ¹¦»ç. depict ¹¦»çÇÏ´Ù.
without rhyme or reason ¹«½¼ ¿µ¹®ÀÎÁö ¾Ë ¼ö ¾ø´Â. cf. rhyme ¿îÀ².
curry favor ³²ÀÇ ºñÀ§¸¦ ¸ÂÃß´Ù. flabbiness (±ÙÀ°ÀÌ)´Ã¾îÁø °Í, ³ª¾àÇÔ. self-indulgence Á¦ ¸Ú´ë·Î Çϱâ, Û¯ðý(¹æÁ¾). insight ÅëÂû. immorality ºÎµµ´ö.
horrid ¹«¼­¿î, ÁøÀú¸®³ª´Â. recollect ȸ»óÇÏ´Ù. of yore ¿¾³¯ÀÇ.
things past °ú°ÅÀÇ Àϵé. restore ȸº¹ÇÏ´Ù, ºÎȰÇÏ´Ù.
innumerable ¹«¼öÇÑ. lie-lay-lain ³õ¿© ÀÖ´Ù. cf. lie-lied-lied °ÅÁþ¸»ÇÏ´Ù.
mesh ±×¹°, ØÑÞê(¸Á»ç). stupid ¸ÛûÇÑ, ¾î¸®¼®Àº. frivolous ºÒ¼º½ÇÇÑ.
simultaneously µ¿½Ã¿¡, ÀÏÁ¦È÷. extricate ±¸ÃâÇÏ´Ù, ÇØ¹æ½ÃŰ´Ù.
mess È¥Àâ, Üô̾(ºÒ°á). atone for áÛñª(¼ÓÁË)ÇÏ´Ù.

B. ±¸¹®
-In a manner characteristic of . . . a cruel, rich man.
cf. not so much A . . . as B. A¶ó±âº¸´Ù´Â ¿ÀÈ÷·Á BÀÌ´Ù.
ex. He is not so much a scholar as a writer. ±×´Â ÇÐÀÚ¶ó±âº¸´Ù´Â ¿ÀÈ÷·Á ÀÛ°¡ÀÌ´Ù.
[ÀÌ ¼Ò¼³¿¡¼­ º¼ ¼ö Àִ ƯÀ¯ÀÇ ¹æ¹ýÀ¸·Î, À°Ã¼ÀûÀÎ ¼¼ºÎ¹¦»ç´Â KorchaginÀ» ¹¦»çÇϱ⺸´Ù´Â ¿ÀÈ÷·Á ¾î¶² ¸ÅÁ¤ÇÏ°í ºÎÀ¯ÇÑ ³²ÀÚÀÇ µµ´öÀû ÀÚÁú(³ª¾àÇÔ, ¹æÁ¾)À» ¾Ï½ÃÇϱâ À§Çؼ­ »ç¿ëµÈ´Ù.]

19-10-81
Realizing that he is a 'scoundrel', he begins a 'cleansing of his soul' which consists in clearing out 'all the rubbish that had accumulated in his soul and caused the cessation of true life'. This leads to a resolution: I will see her, and ask her to forgive me . . . [and] marry her if necessary'. He lifts his eyes and prays the prayer Tolstoy often repeated in his own diaries: 'Lord, help me, teach me, come, enter within me, and purify me of all this abomination.' The narrator interprets for us: 'the God within him had awakened in his consciousness.' With tears in his eyes Nekhlyudov goes to the window and looks out on the garden; in the expanse of nature he finds the 'meaning' of what 'was going on in his soul', and pronounces it 'delightful. This first scene of moral resurrection is paradigmatic of all Nekhlyudov's major moments of awakening. An encounter, perhaps by chance, with a figure he either has not known or not recently seen, awakens him from a former blindness, and this allows him to see some truth about them which then reveals a truth about himself; armed with these truths he resolves to reorder his life, often finding confirmation of this moment in an expanse of nature which represents the absolute truth embodied in the revelatory opening frame.

A. ¾îÈÖ
scoundrel ¾Ç´ç. cleansing ïäûù(Á¤È­), û¼Ò. consist in ...¿¡ ÀÖ´Ù. ³»ÀçÇÏ´Ù.
clear out û¼ÒÇÏ´Ù. ºñ¿ì´Ù. rubbish ¾²·¹±â. accumulate ½×¾Æ¿Ã¸®´Ù, ÃàÀûÇÏ´Ù.
cessation ýÌò­(ÈÞÁö), Á¤Áö, ´ÜÀý. prays the prayer ±âµµÇÏ´Ù.
purify Á¤È­ÇÏ´Ù, Á¦°ÅÇÏ´Ù. abomination Çø¿À°¨À» ÁÖ´Â ÇàÀ§, Çø¿À. interpret ÇØ¼®ÇÏ´Ù.
awaken ±ú¾î³ª´Ù. consciousness ëòãÛ(ÀǽÄ).
the expanse of nature ³Ð°Ô ÆîÃÄÁø ÀÚ¿¬. cf. expanse È®Àå. pronounce ¼±¾ðÇÏ´Ù.
paradigmatic çÓ(¿¹)°¡ µÇ´Â, ¸ð¹üÀÌ µÇ´Â. moments of awakening °¢¼ºÀÇ ¼ø°£.
encounter ¶æ¹Û¿¡ ¸¶ÁÖħ, ú³ý±(ÇØÈÄ). figure ìÑÚª(Àι°).
former blindness ÀÌÀüÀÇ ´«¸Õ »óÅÂ. reveal (°¨Ãß¾î Áø °ÍÀ») ¾Ë¸®´Ù. °è½ÃÇÏ´Ù.
arm ¹«ÀåÇÏ´Ù. resolve °á½ÉÇÏ´Ù. reorder ÀçÁ¤ºñ(Á¤µ·)ÇÏ´Ù.
confirmation ü¬ñû(È®Áõ), Áõ°Å, È®ÀÎ. represent ³ªÅ¸³»´Ù, »ó¡ÇÏ´Ù, ÀǹÌÇÏ´Ù.
absolute Àý´ëÀûÀÎ. embody Á¤½Å¿¡ Çüü¸¦ ÁÖ´Ù, ±¸Ã¼È­ÇÏ´Ù.
revelatory ¾Ë·ÁÁÖ´Â. the revelatory opening frame ÌöãÆîÜ(°è½ÃÀû)ÀÎ ßíØ­(¼­¸·).

B. ±¸¹®
-armed with these truths¡æ as he is armed with these truths
[ÀÌ·¯ÇÑ Áø¸®·Î ¹«ÀåµÇ¾î¼­.]
-truth embodied¡ætruth that is embodied
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