The Reception of Horace in Eighteenth-Century France

古罗马诗人贺拉斯（公元前65-8年）长期以来一直对读者和作家都很有吸引力，甚至直到今天，从看似平庸的货币到“carpe diem”和“nunc est bibendum”等贺拉斯标签，再到巴恩斯利出生的诗人唐纳德·戴维（Donald david）的作品，他在1985年写了一首关于矿工罢工的诗，“罢工的温伯韦尔”，明确模仿了贺拉斯的颂歌。贺拉斯对18世纪英国作家，尤其是亚历山大·蒲柏的影响尤为重要。但他也在18世纪的法国文化中留下了深刻的印记。令人惊讶的是，到目前为止，还没有对贺拉斯在18世纪法国的存在进行全面的研究。我提议的研究在某种程度上弥补了学术上的差距，通过分析18世纪法国从道德到哲学甚至政治的一系列话语中对诗人及其作品的挪用和重新塑造的具体实例。这项研究将使我们对18世纪法国文化和古典传统在更广泛的近代早期的持久性的认识取得重大进展。

The ancient Roman poet Horace (65-8 BC) has long exercised a fascination on readers and writers alike, even to this day, from the seemingly banal currency given to such Horatian tags as 'carpe diem' and 'nunc est bibendum' to the work of the Barnsley-born poet Donald Davie, who wrote a poem in 1985 about the miners' strike, 'Wombwell on Strike', in explicit imitation of an Horatian ode. Horace's influence on eighteenth-century English writers, notably Alexander Pope, was of particular importance. But he left a deep mark, too, on eighteenth-century French culture. It is surprising, then, that there is to date no overall study of Horace's presence in eighteenth-century France. My proposed research goes some way to making good that gap in scholarship by analysing specific instances of the appropriation and re-fashioning of the poet and his works in a range of discourses in eighteenth-century France, from the moral to the philosophical and even the political. This research will lead to significant advances in our knowledge both of eighteenth-century French culture and of the persistence of the classical tradition in the early modern period more generally.