'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《Humanae Salutis Monumenta》（1571）中的经典典籍和基督教与异教信件的融合。这部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，每首诗都附有版画。不幸的是，尽管有一些关于这部作品视觉方面的学术研究（例如Mauquoy-Hendrickx， 1982），却很少有文学批评。考虑到该合集被认为是“西班牙新拉丁诗歌的巅峰之作”（Coroleu和Fouto， 2015），这似乎是一个迫切需要进一步研究的领域。在HSM上确实存在的文学学术对作者的技巧有很大的不公平。例如，纳瓦罗López（1990-91）不加区分地列出了古典文本的典籍，并得出结论，蒙塔诺只是从“陈词滥调语言学家”的集合中借用了这些典籍，以保证他的拉丁语的正确性。他还认为圣经典故使内容与经典形式拉开了距离。相比之下，我希望展示Montano如何利用典故来创造意义，而不是简单地作为语法可靠的行填充。我还旨在展示蒙塔诺如何使用典故来协调异教和基督教的学习。Alcina（1998）在分析阿里亚斯·蒙塔诺的几首颂歌中的贺拉斯主义时采用了这种方法，展示了作者如何协调贺拉斯派和新斯多葛派基督教圣人的形象。我的方法的一个例子可以在我最近完成的一项关于颂歌V的研究中看到，我认为通过暗指奥维德的《变形记》，蒙塔诺融合了奥维德和圣经的洪水神话。我的项目将分为两部分，广泛处理形式和内容。前半部分将分为几个章节，专门针对蒙塔诺最常使用的古典作家，即贺拉斯、奥维德和维吉尔。下半部分将涉及两个正式方面。首先是蒙塔诺在文集中对体裁的运用，他不仅写抒情诗，还大胆地写挽歌、墓志铭和挽歌，并使用了史诗明喻等手法。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）诗歌的另一个突出特征是我们可以称之为文学自我意识的东西”。我目前正在研究蒙塔诺是如何通过在作品开头和结尾的献词以及福音派颂歌中运用古典美学来创造基督教人文主义诗歌项目的。这项研究将符合近年来对新拉丁文学的普遍兴趣。然而，与意大利等其他欧洲国家的新拉丁诗歌研究相比，西班牙的新拉丁诗歌研究仍然非常缺乏，而且当研究开展时，往往只针对西班牙学者；我的论文将是对西班牙新拉丁文学的兴趣超越当地限制的一步。我的研究对研究反宗教改革时期西班牙基督教人文主义的学者也特别有价值；事实上，阿尔奇纳在他的介绍中对阿里亚斯·蒙塔诺进行了一些分析弗雷·路易斯·德León诗歌的Cátedra版本，显示了他的作品是多么有价值，作为当代文学潮流的示范在方言文学和拉丁语中。此外，我认为，如果不了解这个时期的拉丁文学作品，就不可能真正了解西班牙黄金时代的文学全景。

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.