This dissertation comprises the first study of the poetry of the Portuguese humanist Diogo de Teive (1513-14 – c. 1569). It examines and presents a scholarly edition of the Epithalamium which Teive composed on the occasion of the marriage of Princess Maria of Portugal to Alessandro Farnese in 1565. It also critically explores the work in which the poem was published, the Epodon libri tres (Lisbon, 1565). Because both this and the Epithalamium bring together different strands of Teive’s literary work, Chapter One analyses the development of his literary career, linking it to the ideological and cultural transformations which took place in Portugal from the 1540s to the 1560s, and the author’s attempt to carve his identity and space in the Portuguese literary scene. Chapter Two explores the concepts of ‘imitatio’ and ‘mimesis’ in the Epodon libri tres, shedding light on specific aspects of the Epithalamium. In the eyes of his readers, Teive emerges as a Catholic Horace. This is achieved by means of formal imitation, ‘aemulatio’, and allusion to Horace, a process whereby Teive introduces significant and ideologically motivated differences representative of the impact of Counter-Reformation upon literary writing. The ‘aemulatio’ of Prudentius’s Peristephanon in book II is to be understood in this light. Part Two engages with Teive’s comments on questions of verbal representation in the Epodon libri tres. Chapter Three analyses the Epithalamium from a generic perspective, arguing that it presents instances of generic enrichment, and that these are an example of the appropriation of occasional poetry for the purpose of authorial self-representation. One of the instances of generic enrichment is the incorporation of a didactic passage indebted to the tradition of the ‘speculum principum’, which is analysed in Chapter Four. Part One interprets the rewriting and appropriation of Plutarch and Erasmus as authorising strategies whereby Teive represents himself as an advisor of kings in the Epodon libri tres. Part Two discusses the author’s political thought and opinions, drawing from an analysis of the Epithalamium. Finally, Chapter Five comprises the study of the transmission of the poem, its metrical analysis, edition, translation, and commentary.

Avec l'avènement du prince en 27 av. J.-C. s'ouvre à Rome ce qu'on appelle le siècle d'Auguste et qui correspond à une période de révolution à la fois politique, mais aussi culturelle. Auteurs et poètes étaient engagés dans cette réflexion collective sur les fondements de la Ville, son identité, ses rapports avec son prince et ses dieux, I'imperium d'Auguste et les modèles à offrir à la nouvelle génération. La thèse entend étudier la manière dont le poète latin Horace participa non seulement au renouvellement des formes poétiques à Rome, mais aussi à ces réflexions sur le nouus status. Comment la lyrique archaïque grecque qu'il tente d'acclimater à Rome dans ses Odes, mais aussi les mythes grecs qu'il réélabore et fait entrer en résonance avec les enjeux du principat, lui permettent d'évoquer les relations privilégiées de Rome et de son prince ? / With the accession of the princeps in 27 BC, begins in Rome the "Age of Augustus" - a period of political, but also cultural revolution. Authors and poets joined this collective thinking about the foundations of the City, its identity, its relationship with its princeps and its gods, the imperium of Augustus, and the ideals to offer to the new generation... This dissertation aims to analyse how the Latin poet Horace took part not only to the renewal of the poetic forms in Rome, but also to these reflections around the novus status. ln which way the archaic Greek lyric, that he tries to adapt to Rome in his Odes, as well as the Greek mythology, that he recreates to make them echo the challenges of the Principate, make it possible for Horace to conjure the privileged relation ship between Rome and its princeps?