Why should you read "A Midsummer Night's Dream"? - Iseult Gillespie

868,298 views ใƒป 2018-12-03

TED-Ed


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: GAAE GANG ๊ฒ€ํ† : Won Jang
00:07
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๋ฐคํ•˜๋Š˜์˜ ๋‹ฌ๋น›์„ ๋”ฐ๋ผ์„œ
00:08
a group of youths sneak into the woods,
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ํ•œ ๋ฌด๋ฆฌ์˜ ์ Š์€์ด๋“ค์ด ์ˆฒ์œผ๋กœ ์ˆจ์–ด๋“ญ๋‹ˆ๋‹ค.
00:11
where they take mind-altering substances,
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๊ทธ๋“ค์€ ์—ฌ๊ธฐ์„œ ์‚ฌ๋ž‘์˜ ๋ฌ˜์•ฝ์„ ์ ‘ํ•˜๊ณ 
00:13
switch it up romantically,
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์‚ฌ๋ž‘์— ๋น ์ง€๊ณ 
00:15
and brush up against creatures from another dimension.
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๋ฏธ์ง€์˜ ์ƒ๋ช…์ฒด๋“ค๊ณผ๋„ ๋งŒ๋‚ฉ๋‹ˆ๋‹ค.
00:18
"A Midsummerโ€™s Nightโ€™s Dream" sees Shakespeare get psychedelic โ€“
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"ํ•œ์—ฌ๋ฆ„ ๋ฐค์˜ ๊ฟˆ"์„ ๋ณด๋ฉด ์…ฐ์ต์Šคํ”ผ์–ด๊ฐ€ ๋งˆ์น˜ ํ™˜๊ฐ์„ ๊ฒช๊ณ  ์žˆ๋Š” ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
00:22
and the result is a treat in the theatre and on the page.
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๊ทธ ๊ฒฐ๊ณผ ํฌ๊ทน์ž‘ํ’ˆ์œผ๋กœ์„œ์˜ ๋Œ€์ž‘์ด ํƒ„์ƒํ•˜์˜€์ง€์š”.
00:26
First performed in the 1590's,
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1590๋…„๋Œ€์— ์ฒ˜์Œ ๊ณต์—ฐ๋œ
00:29
this play is one of Shakespeareโ€™s friskiest works,
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์ด ํฌ๊ทน์€ ์…ฐ์ต์Šคํ”ผ์–ด์˜ ๊ฐ€์žฅ ํŠน์ดํ•œ ์ž‘ํ’ˆ ์ค‘ ํ•˜๋‚˜๋กœ
00:32
filled with trickery, madness and magic.
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์žฅ๋‚œ, ๊ด‘๊ธฐ, ๋งˆ๋ฒ•์œผ๋กœ ๊ฐ€๋“ํ•ฉ๋‹ˆ๋‹ค.
00:35
Set over the course of one night,
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ํ•˜๋ฃป๋ฐค ์‚ฌ์ด์˜ ์ด์•ผ๊ธฐ๋ฅผ ๋ฐฐ๊ฒฝ์œผ๋กœ
00:37
Midsummer progresses at a rollicking pace.
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์ด ์ž‘ํ’ˆ์€ ํฅ๊ฒจ์šด ์†๋„๋กœ ์ง„ํ–‰๋ฉ๋‹ˆ๋‹ค.
00:40
The plot is structured around patterns of collision and dissolution,
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๊ฐˆ๋“ฑ๊ณผ ํ•ด๊ฒฐ์˜ ๊ตฌ์กฐ๋ฅผ ๊ฐ€์ง„ ์ด ์ž‘ํ’ˆ์˜ ์ค„๊ฑฐ๋ฆฌ์—์„œ๋Š”
00:44
where characters from different worlds are thrown together and torn apart.
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๋‹ค๋ฅธ ์„ธ๊ณ„์—์„œ ์˜จ ์ธ๋ฌผ๋“ค์ด ๋งŒ๋‚ฌ๋‹ค๊ฐ€ ํ—ค์–ด์ง‘๋‹ˆ๋‹ค.
00:48
Shakespeare uses these patterns to mock the charactersโ€™ self-obsession
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์…ฐ์ต์Šคํ”ผ์–ด๋Š” ์ด ํŒจํ„ด์„ ์ด์šฉํ•˜์—ฌ ์ธ๋ฌผ๋“ค์˜ ์ž๊ธฐ์ง‘์ฐฉ์„ ์กฐ๋กฑํ•˜๊ณ 
00:52
and question authority with a comic twist.
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ํ•ดํ•™์ ์œผ๋กœ ๋น„ํ‹€์–ด ๊ถŒ์œ„์— ๋Œ€ํ•œ ์งˆ๋ฌธ์„ ๋˜์ง‘๋‹ˆ๋‹ค.
00:56
The action is set in Ancient Greece,
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์ด์•ผ๊ธฐ๋Š” ๊ณ ๋Œ€ ๊ทธ๋ฆฌ์Šค๋ฅผ ๋ฐฐ๊ฒฝ์œผ๋กœ ํ•˜์ง€๋งŒ
00:58
but like many of Shakespeareโ€™s plays it reflects his contemporary concerns.
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๊ทธ์˜ ๋‹ค๋ฅธ ๋งŽ์€ ์ž‘ํ’ˆ๋“ค์ฒ˜๋Ÿผ ๊ทธ ๋‹น์‹œ์˜ ์‹œ๋Œ€์ƒ์„ ๋ฐ˜์˜ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
01:02
The magical setting of the woods at night
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ํ•œ๋ฐค์˜ ์ˆฒ์ด๋ผ๋Š” ์‹ ๋น„๋กœ์šด ๋ฐฐ๊ฒฝ์€
01:04
disrupts the boundaries between separate groups, with bizarre results.
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์„œ๋กœ ๋‹ค๋ฅธ ๊ทธ๋ฃน ์‚ฌ์ด์˜ ๊ฒฝ๊ณ„๋ฅผ ํ—ˆ๋ฌผ์–ด ๊ธฐ๊ดดํ•œ ๊ฒฐ๊ณผ๋ฅผ ์œ ๋ฐœํ•ฉ๋‹ˆ๋‹ค.
01:09
Here, the bard plays with the rigid class system of his own time,
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์ž‘๊ฐ€๋Š” ๋‹น๋Œ€์˜ ์—„๊ฒฉํ•œ ๊ณ„๊ธ‰ ์ œ๋„๋ฅผ ํฌํ™”ํ™” ์‹œํ‚ต๋‹ˆ๋‹ค.
01:13
taking three distinct groups and turning their society upside-down
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์„ธ ๊ฐœ์˜ ๋ถ„๋ช…ํ•œ ๊ณ„๊ธ‰์„ ๋‹ค๋ฃจ๋ฉฐ
๋ชจ๋‘๊ฐ€ ๋™๋“ฑํ•œ ์กฐ๊ฑด ์ƒํ™ฉ์—์„œ ๊ทธ๋“ค์˜ ์ง€์œ„๋ฅผ ๋’ค์„ž์Šต๋‹ˆ๋‹ค.
01:17
in a world where no mortal is in control.
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01:20
The play opens with young Hermia
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์ด ๊ทน์€ ์ Š์€ ํ—ˆ๋ฏธ์•„๊ฐ€
01:23
raging at her father Egeus and Theseus, the King of Athens,
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์•„๋ฒ„์ง€์ธ ์ด์ง€์šฐ์Šค์™€ ์•„ํ…Œ๋„ค์˜ ์™•์ธ ํ…Œ์„ธ์šฐ์Šค์—๊ฒŒ ํ™”๋ฅผ ๋‚ด๋ฉฐ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
01:27
who have forbidden her to marry her lover Lysander.
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ํ…Œ์„ธ์šฐ์Šค๋Š” ๊ทธ๋…€๊ฐ€ ์‚ฌ๋ž‘ํ•˜๋Š” ๋ผ์ด์ƒŒ๋”์™€์˜ ๊ฒฐํ˜ผ์„ ๊ธˆ์ง€ํ•ฉ๋‹ˆ๋‹ค.
01:31
Hermia has no interest in her father's choice for her of Demetrius โ€“
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ํ—ˆ๋ฏธ์•„๋Š” ์•„๋ฒ„์ง€๊ฐ€ ์„ ํƒํ•œ ๋“œ๋ฏธํŠธ๋ฆฌ์–ด์Šค์—๊ฒŒ ๊ด€์‹ฌ์ด ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
01:35
but her best friend Helena definitely does.
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์˜คํžˆ๋ ค ์นœํ•œ ์นœ๊ตฌ์ธ ํ—ฌ๋ ˆ๋‚˜๊ฐ€ ๊ทธ๋ฅผ ๋งค์šฐ ์‚ฌ๋ž‘ํ•˜๊ณ  ์žˆ์—ˆ์ง€์š”.
01:39
Furious at their elders, Hermia and Lysander elope under cover of darkness,
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์–ด๋ฅธ๋“ค์—๊ฒŒ ํ™”๊ฐ€ ๋‚œ ํ—ˆ๋ฏธ์•„์™€ ๋ผ์ด์ƒŒ๋”๋Š” ๋ฐค์— ๋ชฐ๋ž˜ ๋„๋ง์น˜์ง€๋งŒ
01:44
with Demetrius in hot pursuit.
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๋“œ๋ฏธํŠธ๋ฆฌ์–ด์Šค๊ฐ€ ๊ทธ ๋’ค๋ฅผ ์ซ“์•˜์Šต๋‹ˆ๋‹ค.
01:46
This is further complicated by Helenaโ€™s decision
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์ด๋Š” ํ—ฌ๋ ˆ๋‚˜์˜ ๊ฒฐ์ •์œผ๋กœ ๋”์šฑ ๋ณต์žกํ•ด์ง‘๋‹ˆ๋‹ค.
01:49
to follow them all into the woods, in the hope of winning Demetriusโ€™ heart.
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๊ทธ๋…€๋Š” ๋“œ๋ฏธํŠธ๋ฆฌ์šฐ์Šค์˜ ๋งˆ์Œ์„ ์–ป๊ณ ์ž ์ˆฒ์œผ๋กœ ์ซ“์•„๊ฐ”์ง€์š”.
01:54
At this point, the woods are getting crowded,
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์ด ๋•Œ๋ถ€ํ„ฐ ์ˆฒ์†์€ ๋ถ๋น„๊ธฐ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
์ด ๊ณต๊ฐ„์—๋Š” ์—ฐ์ธ๋“ค ๋ง๊ณ ๋„ ๋ฌด๋ก€ํ•œ ๊ธฐ์ˆ ์ž๋“ค์ด ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
01:57
as the lovers are sharing the space with a group of โ€œrude mechanicalsโ€โ€”
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02:01
a troupe of workers drunkenly rehearsing a play, led by the jovial Nick Bottom.
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์œ ์พŒํ•œ ๋‹‰ ๋ฐ”ํ…€์ด ์ด๋„๋Š” ์ด ์ผ๊พผ๋“ค์€ ์ˆ ์— ์ทจํ•ด ์—ฐ๊ทน์„ ์—ฐ์Šต ์ค‘์ด์—ˆ์Šต๋‹ˆ๋‹ค.
02:06
Unbeknownst to them, the humans have entered into the world of the fairies.
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๊ทธ๋“ค์€ ๋ชจ๋ฅด๋Š” ์‚ฌ์ด์— ์š”์ •์˜ ์„ธ๊ณ„์— ๋“ค์–ด์™€ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
02:11
Despite their magical splendor, Oberon and Titania,
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๋งˆ๋ฒ•์„ ๋ถ€๋ฆฌ๋Š” ์š”์ •์˜ ์™•๊ณผ ์™•๋น„์ธ ์˜ค๋ฒ ๋ก ๊ณผ ํ‹ฐํƒ€๋‹ˆ์•„๋„
02:15
the king and queen of the fairies, have their own romantic problems.
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๋ถˆํ™”๋ฅผ ๊ฒช๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
02:19
Furious at his inability to control Titania, the jealous Oberon
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ํ‹ฐํƒ€๋‹ˆ์•„๋ฅผ ํ†ต์ œํ•  ์ˆ˜ ์—†๋‹ค๋Š” ๊ฒƒ์— ํ™”๊ฐ€ ๋‚œ ์˜ค๋ฒ ๋ก ์€
02:24
commands the trickster Puck to squeeze the juice of a magical flower over her eyes.
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์žฅ๋‚œ๊พธ๋Ÿฌ๊ธฐ ํฝ์—๊ฒŒ ๊ทธ๋…€์˜ ๋ˆˆ์— ๋งˆ๋ฒ•์˜ ๊ฝƒ์ฆ™์„ ๋„ฃ์œผ๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
02:30
When she wakes up, sheโ€™ll fall in love with the first thing she sees.
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์ž ์—์„œ ๊นจ๋ฉด ๊ทธ๋…€๋Š” ์ฒ˜์Œ ๋ณธ ์‚ฌ๋žŒ๊ณผ ์‚ฌ๋ž‘์— ๋น ์งˆ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:35
On his mission,
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์™•์˜ ์ž„๋ฌด์— ๋”ฐ๋ผ
02:36
Puck gleefully sprinkles the juice over the eyes of the napping Demetrius
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ํฝ์€ ์ด ์ฆ™์„ ๋‚ฎ์ž  ์ž๋Š” ๋“œ๋ฏธํŠธ๋ฆฌ์šฐ์Šค์™€ ๋ผ์ด์ƒŒ๋” ๋ˆˆ์— ๋ฟŒ๋ฆฌ๊ณ 
02:40
and Lysander, and transforms Bottomโ€™s head into that of a donkey for good measure.
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์ถ”๊ฐ€์ ์œผ๋กœ ๋ฐ”ํ…€์˜ ๋จธ๋ฆฌ๋ฅผ ๋‹น๋‚˜๊ท€ ๋จธ๋ฆฌ๋กœ ๋ฐ”๊ฟ”๋†“์•˜์Šต๋‹ˆ๋‹ค.
02:46
As eyes flicker open,
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์ด๋“ค์ด ๋ˆˆ์„ ๋–ด์„ ๋•Œ
02:47
a night of chaos commences that includes broken hearts, mistaken identity,
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ํ˜ผ๋ˆ์˜ ๋ฐค์ด ํŽผ์ณ์ง€๊ณ  ์‹ค์—ฐ๊ณผ, ์ •์ฒด์„ฑ ํ˜ผ๋ž€๊ณผ
๋ณ€์‹ ์œผ๋กœ ์•„์ˆ˜๋ผ์žฅ์ด ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
02:53
and transformations.
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02:55
Out of all the characters, Bottom probably fares the best โ€“
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๋ชจ๋“  ์ธ๋ฌผ์„ ํ†ตํ‹€์–ด ๊ฐ€์žฅ ์ด๋“์„ ๋ณธ๊ฑด ๋ฐ”ํ…€์ผ์ง€๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
02:58
when the bewitched Titania lays eyes on him,
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๋งˆ์ˆ ์— ๊ฑธ๋ฆฐ ํ‹ฐํƒ€๋‹ˆ์•„๊ฐ€ ๋ˆˆ์„ ๋–ด์„ ๋•Œ ๊ทธ๋ฅผ ๋ณด์•˜๊ณ 
03:01
she calls on her fairies to lavish him with wine and treasures
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๊ทธ๋…€๋Š” ์š”์ •๋“ค์„ ๋ถˆ๋Ÿฌ ๊ทธ์—๊ฒŒ ์™€์ธ๊ณผ ๋ณด๋ฌผ์„ ์•„๋‚Œ์—†์ด ์ฃผ๋„๋ก ํ•˜๊ณ 
03:05
and sweeps the transfigured donkeyman off his feet:
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์ด ๋‹น๋‚˜๊ท€์ธ๊ฐ„์„ ์œ ํ˜นํ•ฉ๋‹ˆ๋‹ค.
03:08
โ€œpluck the wings from painted butterflies/
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"์ƒ‰์ƒ‰์˜ ๋‚˜๋น„๋“ค์—์„œ ๋‚ ๊ฐœ๋ฅผ ๋ฝ‘์•„์„œ
03:11
To fan the moonbeams from his sleeping eyes.
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๊ทธ์˜ ์กธ๋ฆฐ ๋ˆˆ์— ๋‹ฌ๋น›์„ ๋ถ€์–ด๋ผ
03:14
Nod to him, elves, and do him courtesies.โ€
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๊ทธ์—๊ฒŒ ๊ณ ๊ฐœ๋ฅผ ์ˆ™์—ฌ๋ผ, ์š”์ •๋“ค์•„, ๊ทธ์—๊ฒŒ ์˜ˆ์˜๋ฅผ ๊ฐ–์ถ”์–ด๋ผ."
03:18
While magic is the catalyst to the action,
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๋ฌผ๋ก  ๋งˆ์ˆ ์ด ์ด๋Ÿฐ ํ–‰๋™์„ ํ•˜๊ฒŒ ๋งŒ๋“ค์—ˆ์ง€๋งŒ
03:20
the play reflects the real drama of the things we do for love โ€“
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์ด ๊ทน์€ ์šฐ๋ฆฌ๊ฐ€ ์‚ฌ๋ž‘์„ ํ•  ๋•Œ ์‹ค์ œ๋กœ ์ผ์–ด๋‚˜๋Š” ์ผ๋“ค๊ณผ
03:24
and the nonsensical behavior of the people under its spell.
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์‚ฌ๋ž‘์ด๋ผ๋Š” ๋งˆ๋ฒ•์— ๊ฑธ๋ ธ์„ ๋•Œ ํ•˜๋Š” ํ„ฐ๋ฌด๋‹ˆ์—†๋Š” ํ–‰๋™๋“ค์„ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
03:28
The moon overlooks the action โ€œlike a silver bow,โ€
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๋‹ฌ์ด "์€๋น› ํ™œ์ฒ˜๋Ÿผ" ์ด ๋ชจ์Šต์„ ๋น„์ถ”๋ฉฐ
03:31
signifying erratic behavior, the dark side of love,
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์˜ˆ์ธก ๋ถˆ๊ฐ€๋Šฅํ•œ ํ–‰๋™๊ณผ ์‚ฌ๋ž‘์˜ ์–ด๋‘์šด ๋ฉด,
03:35
and the bewitching allure of a world where the usual rules donโ€™t apply.
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๊ทธ๋ฆฌ๊ณ  ํ‰๋ฒ”ํ•œ ๋ฒ•์น™์ด ์ ์šฉ๋˜์ง€ ์•Š๋Š” ์„ธ์ƒ์˜ ํ™ฉํ™€ํ•œ ๋งค๋ ฅ์„ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
03:40
Although the characters eventually come to their senses,
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๊ฒฐ๊ตญ์—๋Š” ์ธ๋ฌผ๋“ค์ด ์ •์ƒ์œผ๋กœ ๋Œ์•„์˜ค๊ณ 
03:43
"A Midsummer Night's Dream" raises the question
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"ํ•œ์—ฌ๋ฆ„ ๋ฐค์˜ ๊ฟˆ"์€ ์šฐ๋ฆฌ์˜ ์ผ์ƒ์ƒํ™œ์—์„œ ์ž‘์šฉํ•˜๋Š”
03:46
of how much agency we have over our own daily lives.
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๋งŽ์€ ํž˜๋“ค์— ๋Œ€ํ•œ ์˜๋ฌธ์„ ๋˜์ง‘๋‹ˆ๋‹ค.
03:50
But itโ€™s not the more realistically rendered lovers, rulers or workers
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ํ•˜์ง€๋งŒ ๋งˆ์ง€๋ง‰ ๋Œ€์‚ฌ๋ฅผ ํ•˜๋Š” ๊ฒƒ์€
์ด๋Ÿฐ ์—ฐ์ธ๋“ค, ์ง€๋ฐฐ์ž๋“ค, ํ˜น์€ ๋…ธ๋™์ž๋“ค์ด ์•„๋‹™๋‹ˆ๋‹ค.
03:54
who have the last word,
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03:56
but the impish Puck who queries whether we can ever truly trust what we see:
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์˜คํžˆ๋ ค ์žฅ๋‚œ๊พธ๋Ÿฌ๊ธฐ ํฝ์ด ์šฐ๋ฆฌ์—๊ฒŒ ์งˆ๋ฌธ์„ ๋˜์ง€์ง€์š”.
'์šฐ๋ฆฌ๊ฐ€ ๋ณด๋Š” ๊ฒƒ๋“ค์„ ์ •๋ง๋กœ ๋ฏฟ์„ ์ˆ˜ ์žˆ์„๊นŒ์š”?'
04:02
If we shadows have offended,
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๋งŒ์•ฝ ์šฐ๋ฆฌ์˜ ์—ฐ๊ทน์ด ๋ถˆํŽธํ–ˆ๋‹ค๋ฉด
04:03
Think but this and all is mended:
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์ด๋ ‡๊ฒŒ ์ƒ๊ฐํ•ด๋ณด์‹œ๋ฉด ๋ชจ๋“  ๊ฒŒ ํ•ด๊ฒฐ๋ฉ๋‹ˆ๋‹ค.
04:06
That you have but slumbered here
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์—ฌ๋Ÿฌ๋ถ„์ด ์ด ๊ทน์žฅ์—์„œ ๋ณธ ๊ฒƒ์€ ๋‹ค ํ•œ๋‚ฑ ๊ฟˆ์— ๋ถˆ๊ณผํ•ฉ๋‹ˆ๋‹ค.
04:09
While these visions did appear.
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04:11
And in so doing,
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๊ทธ๋Š” ์ด๋ ‡๊ฒŒ ๋งํ•˜๋ฉฐ
04:13
he evokes the effect of entering into the magical world of great theatre
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๊ด€๊ฐ๋“ค์„ ์ด ์œ„๋Œ€ํ•˜๊ณ  ์‹ ๋น„๋กœ์šด ๋ฌด๋Œ€๋กœ ๋น ์ ธ๋“ค๊ฒŒ ๋งŒ๋“ญ๋‹ˆ๋‹ค.
04:17
that plays with the boundary between illusion and reality โ€“
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์ด ๋ฌด๋Œ€์—์„œ๋Š” ํ˜„์‹ค๊ณผ ํ™˜์ƒ์ด ๋’ค์„ž์—ฌ์žˆ์–ด์„œ
04:21
and dramatizes the possibility that life is but a dream.
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์šฐ๋ฆฌ ์‚ถ ๋˜ํ•œ ํ•œ๋‚ฑ ๊ฟˆ์— ๋ถˆ๊ณผํ• ์ง€๋„ ๋ชจ๋ฅธ๋‹ค๋Š” ์ƒ๊ฐ์„ ํ•˜๊ฒŒ ๋งŒ๋“ค์ง€์š”.
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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