'Classical Allusion and the Syncretism of Pagan and Christian Letters in Benito Arias Montano's Humanae Salutis Monumenta'

我建议研究贝尼托·阿里亚斯·蒙塔诺(Benito Arias Montano)的《人类救赎纪念碑》(1571)中的古典典故以及基督教和异教字母的融合性。这本作品是一本以《圣经》为主题的拉丁诗集，以贺拉斯的风格写成，每一首都配上一幅版画。不幸的是，尽管有一些学者对这部作品的视觉方面进行了研究(例如Mauquy-Hendrickx，1982)，但很少有文学批评。考虑到这本诗集被认为是“西班牙新拉丁诗歌的巅峰之作”(Coroleu和Futo，2015)，这似乎是一个迫切需要进一步研究的领域。HSM上确实存在的文学学术对作者的技巧造成了极大的不公。例如，纳瓦罗·L(1990年至1991年)不分青红皂白地列举了古典典籍的典故，并得出结论，蒙塔诺只是从《陈词滥调的S语言集》中借用了典故，以保证他的拉丁语的正确性。他还认为圣经典故使内容与古典形式保持距离。相比之下，我希望展示蒙塔诺如何利用典故来创造意义，而不仅仅是作为语法上可靠的填充词。我还打算展示蒙塔诺如何使用典故来协调异教和基督教的学习。这种方法已被阿尔西纳(1998)在他的几首咏叹调蒙塔诺的颂歌中对荷兰主义的分析中采用，展示了作者如何协调荷兰主义和新斯多葛派基督教圣人的数字。我的方法的一个例子可以在我最近完成的一项关于Ode V的研究中看到，在我的研究中，我认为通过引用奥维德的《变形记》，蒙大拿融合了奥维德和圣经的洪水神话。我的项目将分为两个部分，大致涉及形式和内容。前半部分将分为专门针对蒙大诺最常用的古典作家的章节，即贺拉斯、奥维德和维吉尔。后半部分将涉及两个正式方面。首先是蒙塔诺对文集中的体裁的利用，因为他不仅写抒情颂歌，还冒险写挽歌、墓志铭和拿破仑，并使用史诗明喻等手段。第二个形式方面是HSM的自我意识。正如尼科尔斯(1979)所写：“[新拉丁]诗的另一个突出特征是我们可以称之为它的文学自我意识。”我目前正在进行一项研究，研究蒙大诺如何通过在作品开头和结尾的奉献诗中以及在福音布道者的颂歌中操纵古典美学术语来创建基督教人文主义诗歌方案。这项研究将与近年来发生的对新拉丁文学的普遍兴趣保持一致。然而，与意大利等其他欧洲国家的新拉丁诗歌相比，西班牙关于新拉丁诗歌的学术研究仍然非常缺乏，而且当它付诸实施时，往往只针对西班牙学者；我的论文将是向超越当地限制对西班牙新拉丁文学的兴趣迈出的一步。我的研究也将对反宗教改革西班牙的基督教人文主义学者特别有价值；事实上，阿尔西纳在他对弗雷·路易斯·德·莱昂诗歌的卡特拉版的导言中包括了对阿里亚斯·蒙塔诺的一些分析，表明他的作品作为白话文学和拉丁文当代文学潮流的展示是多么有价值。此外，我认为，如果不了解西班牙黄金时代的拉丁文创作，就不可能真正理解西班牙黄金时代的文学全貌。

I propose to study Classical allusion and the syncretism of Christian and pagan letters in Benito Arias Montano's Humanae Salutis Monumenta (1571). This work is a book of Latin poems on Biblical themes written in the style of Horace, each accompanied by an engraving. Unfortunately, although there is some scholarship about the visual aspects of this work (e.g. Mauquoy-Hendrickx, 1982), there is little literary criticism. Considering that the collection is thought to be 'the culmination of Neo-Latin poetry in Spain' (Coroleu and Fouto, 2015), this seems to be an area that urgently requires further study. The literary scholarship that does exist on HSM does a great injustice to the author's skill. For example, Navarro López (1990-91) indiscriminately lists allusions to Classical texts and concludes that Montano merely borrowed them from collections of 'clichés linguisticos' to guarantee the correctness of his Latin. He also regards Biblical allusion as distancing the content from the Classical form. By contrast, I wish to demonstrate how Montano exploits allusions to create meaning, rather than simply as grammatically reliable line-fillers. I also aim to show how Montano uses allusion to harmonise pagan and Christian learning. This approach has been adopted by Alcina (1998) in his analysis of Horatianism in a few of Arias Montano's odes, demonstrating how the author harmonises the figures of the Horatian and Neo-Stoic Christian sages. An example of my approach can be seen in a study I recently completed on Ode V, where I argue that through allusion to Ovid's Metamorphoses, Montano fuses both the Ovidian and biblical Deluge myths. My project will be divided into two halves dealing broadly with form and content. The first half will be divided into chapters specific to the Classical authors most often used by Montano, that is, Horace, Ovid and Virgil. The second half will deal with two formal aspects. The first is Montano's exploitation of genre in the collection, since he does not only write lyric odes, but ventures into elegy, epitaph and the naenia, and uses devices such as the epic simile. The second formal aspect is HSM's self-consciousness. As Nichols (1979) writes, 'another prominent feature of [Neo-Latin] poetry is what we might call its literary self-awareness'. I am currently working on a study of how Montano creates a Christian humanist poetic programme through manipulating Classical aesthetic terms in the dedicatory poems at the start and end of the work, as well as in the odes on the Evangelists. This research will be in line with the general blossoming of interest in Neo-Latin literature which has occurred in recent years. However, scholarship on Neo-Latin poetry in Spain is still greatly lacking in comparison with that of Neo-Latin poetry in other European countries such as Italy, and when it is carried out it is often addressed only to Spanish scholars; my thesis will be a step towards extending interest in Spanish Neo-Latin literature beyond local limits. My research will also be particularly valuable to scholars of Christian Humanism in Counter-Reformation Spain; indeed, Alcina includes some analysis of Arias Montano in his introduction to the Cátedra edition of the poetry of Fray Luis de León, showing just how valuable his work is as a demonstration of contemporary literary currents in vernacular literature as well as in Latin. Furthermore, I believe that it is impossible truly to understand the literary panorama of the Spanish Golden Age without having an idea of the Latin production of the period.