Whilst many 18th century French novels were illustrated as a matter of course—and often to make them more desirable—Choderlos de Laclos chose not to include engraved frontispieces or plates with Les Liaisons dangereuses in the editions he is known to have overseen or authorised. Indeed, in a letter to his son in 1802, he alleges spurious textual reasons to denounce an “edition a estampes” of his famous book. 1 This attitude did not stop publishers issuing illustrated copies during his lifetime in what were, in a couple of cases at least, clearly lucrative operations. A number of major studies, from Philip Stewart’s pioneering Engraven Desire: Eros, Image, and Text in the French Eighteenth Century (1992)2 to the collective volume on Book Illustration in the Long Eighteenth Century. Reconfiguring the Visual Periphery of the Text (2011)3 directed by Christina Ionescu have shown the importance of iconography to literary historians. Les Liaisons dangereuses has fared rather better than most French novels of the period in that several studies have dealt with some of the numerous illustrated editions published over the years in different countries, from the 18th to the 20th century.

中文翻译：

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生动描述《 Les Liaisons Dangereuses》：拉克洛斯小说的18世纪插图

当然，当然也有很多插图是18世纪的法国小说，而且通常为了使它们更受欢迎，Choderlos de Laclos选择在他所监督或授权的版本中不包括刻有Les Liaisons危险品的刻版正版或版画。确实，在1802年给儿子的一封信中，他声称虚假的文字原因谴责了他那本著名著作的“版本”。1这种态度并没有阻止出版商在他的一生中发行插图作品，至少在某些情况下，这些作品显然是有利可图的。从Philip Stewart的开创性的《雕刻的欲望：法国18世纪的色情，图像和文字》（1992年）2到18世纪漫长的《插图图书》的合集，进行了许多重大研究。由克里斯蒂娜·伊内斯库（Christina Ionescu）指导的《重新配置文本的视觉外围》（2011）3表明，图像学对文学史学家的重要性。《 Les Liaisonsangereuses》的表现远胜于当时的大多数法国小说，因为从18世纪到20世纪，在不同国家出版的许多插图版本中，有几项研究涉及其中。