ARR F228 Journal of Human Studies, Vol. 22 pp. 111~131(2008) SAS oe Soe BE EA oop, 4a 4 (Sate Sojgsss}a)) OHS] AA WQS #7] Hse] FE US 7 ld Aa TES BAY US Be FS 14 Rat Yeh. Balt $7] AS MF EA) ooh], © SAG she] 740) hfe} Aa slo] Be, PaAOe val 19) Bay BE BAIA 2 UNS Rolof Meh. B ELAIAE MF |] clob|, | FFB OF LE AAR SIu]7} ofa] to] ALAAsp Azo] Serbo] Ade WAT A ath o] AES MAA ays vgoe BAteAlo|eh, 77]9] vhs} Zo] sy 2 AVS sists] GAS olshe Alo] ze, gar} esr Mie Ago) VFL BA} Hale] od abr} 282] AAS AMD ge Kae, LE Srelese IS ATE SIS AD sls spl} oj] He KAS az ayes) Fela 2 Boe MSc. Able: Saleo] Fad GPA] AALS Sole a] SAS WYOSH Al Hohe} BE SAB] Ho] BAS wolda + gle oh, 2 HMMA zat o] SAprale] 7halok H SAYS Bate Ket ES Ue. 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Il fe SAL olf] 9] MAS FAA} oO] ASS ABs) + 70d Aad AWA BIA Aolch wY7Se o] AS] Si4el Seal] de Be EES My, W4oe Gas} yu Md Awe Ene ada (Thomas Carlyle)@} "t2: 88) (The French Revolution) 7191 @cH= 1 SEMPAA Ao} He Aes] YAS AMAR? ofl apy7ke 7p BY 2 Ags GRE WS So] 19) AMA IY} ISS oss ALS BE AY. |S Sel, AAV Ae] S| (Catherine GallagherY= U2] FA] Wdse Vp EE WAS BAS ASAoz APSE Yea} de Ede sopra Fsbo], MBA Age “a wy Sead HF1Veljz}n Ade Hh AYE BBP AES] PEs 9] YUAUD Ae HHS SAE AAI US) HAS AAA, AA} als} azl4 47} AAS + gsyi77] 1a AV] PAUSE HHS of Basta get APA. olaAe FREE UGB 29) AAeHs BY) Het aga, Assy FS Blof 2) Chris R. Vanden Bossche, “Prophetic Closure and Disclosing Narrative: The French Revolution and A Tale of Two Cities,” Dickens Studies Annual 12 (1983): 209-11; James Eli Adams, "The Hero as Spectacle: Carlyle and the Persistence of Dandyism,” Victorian Literature and the Victorian Imagination, ed. Carol T. Christ and John O. Jordan (Berkeley: U of California P, 1995): 213-32; Elliot L. 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AVISAAI ASL, Ale] BBE Azole Ayael Qa] FoR lah AAS SHS AgoleS tol7} Qa Aen seep. bale gay He Sat Bd) das] SS 7d Adel Raat Ad. a sae cH) sea + che AVtSI= sels zo] Aas Sap} ale] BAS US 34 Bp le YAoe aasur sh: FSS Bq AoA 4. 29) AE Ale FHS] BE Ao] Selstel sAgo]a, o]z]e Bae WE Wie] SHS B7] Mate olga) Beto] AMS + Me SEA SHE ESM Hol AMS Belch. SIA Aa AAA MF Al lob], & A ASS stole ap AS lula Se Bol Ys} APMS|D gle WS o] AES cpzlA~7} of Ql AVES Sea I AS Woe Ygsp]7] a Us, HB He] ap HHA 7) MANE 1G Bolt fa Ate] BY BHA F Glos = HUD NH. YAAE ©] Ae] SAAS Ya] cho} AEMa sje] 2 FEE MA] ALEIAW, TBA Be BRA Ale M o}re} zal A VAS AHS, Ae Ap] AHAlo] PHA BAAS ole QE ye AACK MH. MZ lel AA oF ela} OF GA] oop], gow128 AXiai(582288) apie] See $F] uelea see aes aplasia ez] gsaog AVE Ae we Ae oda 2AM gold. H#IiI2H Adams, J. (1995). "The hero as spectacle: Carlyle and the persistence of dandyism.” Victorian literature and the Victorian imagination. Bd. C. Christ and J. Jordan. Berkeley: U of California P. 213-32. 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Introduction’ A Tale of Two Cities. New York: Penguin.130 AxctaiB (382248) A Tale of Two Cities as a Means of Overcoming the Past Tag-Jung Kim Most Dickens critics have attempted to find the source of the dark atmosphere of his later novels in his memory of working in a blacking warehouse in childhood. However, it seems to me that A Tale of Two Cities is more closely related to his unhappy married life between 1857 and 1859 rather than to his childhood memory. Of course, it is partly Dickens himself who caused his unhappy married life; but it could be a different subject that asks for another research project. In this paper, I would focus on how the image of the past in A Tale of Two Cities could be related to Dickens's idea regarding his married life. A Tale of Two Cities is a historical novel based on the French Revolution. As is widely known, the French Revolution symbolizes a break-off with the past, but the Revolution as Dickens describes in this novel shows not a break-off with the past but its dominance over the present. All the characters try to be free from their past in vain, and the only way to succeed turns out to be extremely violent. In the famous dramatic ending, Carton sacrifices himself to save Darnay, which in turn enables other characters to succeed to be free from the past. In doing so, Dickens destroys the historicity of this historical novel. It is almost true to say that Dickens was interested in the dramaticDAS OE 4492 BS SA OO, / YAS 131 effects of the ending rather than the narrative itself, And this violent attitude toward his novel indirectly reveals how repressive his married life was at the time. Keywords: The French Revolution, the past, marriage, historicity, A Tale of Two Cities 1A ERAFY : 20084 118 108 FUELATA : 2008 128 8a ASAMBSA : 20084 128 129