Esta pesquisa tem como objetivo traduzir e analisar o Liber Primus da obra Inscriptionum Libri Duo, do poeta neolatino francês Jean Visagier. Esse livro foi publicado em 1538, em Paris, na tipografia de Simon de Colines. O Liber Primus dessa obra possui noventa e três epigramas que foram traduzidos e, posteriormente, estudados quanto à imitação que fazem da antiguidade clássica. Encontramos vestígios, nesses epigramas, de autores latinos como Catulo, Marcial e Ovídio. Sendo um poeta renascentista, em alguns momentos foi necessário cotejar seu texto com a tradição posterior à clássica, sobretudo nos epigramas de cunho erótico. Inclui-se, ainda, um estudo introdutório sobre a inserção de Jean Visagier na cultura do século XVI, principalmente entre o grupo de poetas neolatinos. / The purpose of this research is to translate and to analyze the Liber Primus of the book Inscriptionum Libri Duo, by the French Neo-Latin poet Jean Visagier. This book was published in 1538, in Paris, in the typography of Simon de Colines. The Liber Primus has ninety-three epigrams that were translated and later studied regarding their imitation of Classical Antiquity. We found vestiges, in these epigrams, of Latin authors like Catulus, Martial and Ovid. As Visagier is a Renaissance poet, at times, it was necessary to compare his text with the post-Classical tradition, especially in the erotic epigrams. It also includes an introductory study on the insertion of Jean Visagier in the culture of the sixteenth century, mainly in the group of Neo-latin poets.

Cette thèse porte sur la renaissance de l’élégie latine à l’ère humaniste, au début du XVe siècle, à Sienne. Giovanni Marrasio compose alors le premier recueil d’élégies en langue latine de la Renaissance, l’Angelinetum, d’inspiration amoureuse, auxquels s’ajoutent de nombreux poèmes variés, ses carmina varia. Avant lui, ce genre n’avait pas retrouvé d’expression depuis plusieurs siècles. L’œuvre du poète, très variée dans ses thèmes et dans ses sujets, trouve son unité dans l’utilisation exclusive du distique élégiaque. Cela conduit à s’interroger sur la conception de l’élégie latine que Marrasio illustre : s’il se réapproprie de nombreux thèmes et de nombreuses topiques caractéristiques des élégies antiques, il intègre dans sa poésie plusieurs héritages littéraires d’époques ultérieures. Tous ces emprunts sont savamment fondus dans une poésie originale au gré d’une imitation habilement pensée. Les modalités de cette imitation sont analysées dans toute leur variété : la réminiscence littéraire s’exprime ainsi par l’allusion, la citation et la traduction. L’analyse de l’imitation marrasienne permet également d’évaluer les nouveaux apports du poète au genre élégiaque, notamment par l’intégration de thèmes pétrarquistes et par le rapprochement de l’élégie et de l’épigramme. Marrasio participe, en tant que lettré, à certains débats littéraires de son temps, tels l’inspiration ou la valeur de la poésie, qui trouvent dans ses poèmes, des illustrations inédites, repérables grâce à une pratique métapoétique de l’écriture. Marrasio se révèle à la fois un passeur et un novateur dans la renaissance du genre élégiaque. / This thesis deals with the renaissance of the Latin elegy in the humanist era, at the beginning of the 15th century, in Siena, when Giovanni Marrasio composed the first collection of elegies in Renaissance Latin, Angelinetum, with love as its inspiration, in addition to numerous diverse poems, his carmina varia. This style of expression had not been in use for several centuries prior to this. The exclusive use of the elegiac distich lends unity to the wide range of themes and subjects in the poet's work. This leads one to ponder the conception of the Latin elegy as illustrated by Marrasio : if he reappropriates many themes and topics characteristic of ancient elegies, he integrates several literary legacies from various earlier periods in his poetry. All these borrowings are skillfully combined into original poetry by means of clever purposeful imitation. The methods of this imitation are analysed in full: literary influence is thus expressed by allusion, quotation and translation. The analysis of Marrasian imitation also allows the poet's new contributions to the elegiac genre to be evaluated, in particular his use of Petrarchist themes and combination of the elegy and the epigram. As a man of letters, Marrasio took part, in certain literary debates of his time, on topics such as inspiration or the value of poetry, which find novel expression in his poems, identifiable thanks to a metapoetic writing style. Marrasio turns out to be both an imitator and an innovator in the renaissance of the elegiac genre.

Esta pesquisa tem como objetivo traduzir e analisar o Liber Primus da obra Inscriptionum Libri Duo, do poeta neolatino francês Jean Visagier. Esse livro foi publicado em 1538, em Paris, na tipografia de Simon de Colines. O Liber Primus dessa obra possui noventa e três epigramas que foram traduzidos e, posteriormente, estudados quanto à imitação que fazem da antiguidade clássica. Encontramos vestígios, nesses epigramas, de autores latinos como Catulo, Marcial e Ovídio. Sendo um poeta renascentista, em alguns momentos foi necessário cotejar seu texto com a tradição posterior à clássica, sobretudo nos epigramas de cunho erótico. Inclui-se, ainda, um estudo introdutório sobre a inserção de Jean Visagier na cultura do século XVI, principalmente entre o grupo de poetas neolatinos. / The purpose of this research is to translate and to analyze the Liber Primus of the book Inscriptionum Libri Duo, by the French Neo-Latin poet Jean Visagier. This book was published in 1538, in Paris, in the typography of Simon de Colines. The Liber Primus has ninety-three epigrams that were translated and later studied regarding their imitation of Classical Antiquity. We found vestiges, in these epigrams, of Latin authors like Catulus, Martial and Ovid. As Visagier is a Renaissance poet, at times, it was necessary to compare his text with the post-Classical tradition, especially in the erotic epigrams. It also includes an introductory study on the insertion of Jean Visagier in the culture of the sixteenth century, mainly in the group of Neo-latin poets.

Ce travail présente la première traduction française, assortie de notes et précédée d’une introduction détaillée, d’un roman à clef néo-latin intitulé Peruviana (1644), qui transpose au Pérou les intrigues politiques et sentimentales du Royaume de France au temps de Louis XIII. Son auteur, Claude-Barthélemy Morisot (12 avril 1592 - 22 octobre 1661), était un parlementaire dijonnais appartenant à un cercle de “libertins érudits” de la République des Lettres de la première moitié du XVIIème siècle, auteur d’ouvrages savants et de cet unique roman.L’étude en trois parties servant d’introduction offre d’abord une contextualisation de cette fiction romanesque et de son auteur, livrant les premières clefs nécessaires à la lecture ; puis une analyse narratologique aborde les enjeux littéraires et l’exploitation des sources, notamment antiques : la confrontation des référents et de la structuration de l’intrigue met en évidence la double portée, stéganographique et politique, de ce roman, que la fin de l’étude tentera d’élucider. Il apparaîtra alors que l’auteur, par le jeu de l’analogie et de la métaphore que permet le principe du roman à clef, a envisagé son œuvre comme une utopie où les mécanismes historiques, entrant en concordance avec ceux du Cosmos, pourraient être appréhendés et harmonisés par l’application d’un art bienveillant, prenant en compte tous les aspects et tous les états de la matière sociale afin de guider celle-ci vers un accomplissement proche de l’idéal. Cette lecture alchimique révèle que tout le roman est une métaphore de l’Œuvre, dont l’artisan serait le Poète, mettant au service de l’humanité à venir ce fruit de sa sagesse. / This dissertation is the first translation of a Neo-Latin roman à clef entitled Peruviana (1644) which transposes to Peru the political and sentimental intrigues that took place in France under Louis XIII. This edition is accompanied with notes and preceded by a detailed introduction. The author of Peruviana, Claude-Barthélemy Morisot (April 12, 1592 – October 22, 1661), was a native of Dijon and belonged to a group of libertine scholars from the Republic of Letters during the first half of the 17th century. He is the author of several scholarly works, but Peruviana is his only novel.The first part of the introduction provides contextual elements about the narrative and its author, while also giving some of the keys to read the novel. The second part consists of a narratological analysis which deals with its literary issues and the use of sources – especially classical literature ; the confrontation between the referents and the structure of the plot highlights the steganographic and political dimension of this novel, a point on which third part of this study sheds light.It then becomes clear that thanks to the use of analogy and metaphor – which are characteristic devices of romans à clefs – the author conceived his work as a utopia in which the historical mechanisms reflecting those of the Cosmos might be apprehended and harmonized through a benevolent art that would take into account all the aspects and states of the social Materia(l) in order to lead it to an (almost) ideal fulfilment. This alchemical reading reveals that the entire novel is a metaphor of the Magnum Opus, whose architect would be the Poet offering the product of his wisdom to the future of mankind.

Traditionally, Arthur Johnston has been judged proxime accessit to George Buchanan in the world of Scottish neo-Latin poetry, and particularly in the versification of the Book of Psalms. The thesis offers a counterpoint to that theme. More of his poetry came under scrutiny at the close of the nineteenth century, when an edition of his Parerga and Epigrammata of 1632, turned scholarly attention to his secular poems. This study examines the poems written between 1599 and 1622 during Johnston’s peregrenatio academica in Europe – poems which depict him at the moment of his emergence onto the public stage, and which offer insights into his life, and the worlds he occupied, during those years. Part one of the thesis will examine his early years and his move into the academic world in Aberdeen and at Heidelberg University. Part two will consider the years he passed as a teacher of philosophy at the Huguenot Academy in Sedan, the independent principality on the northern border of France. It will look, too, at the evidence of his year spent in Padua, where he studied to become a physician. Part three will focus on the years 1619-22 when his longest secular poems were composed. He wrote and published with an eye to achieving a post in the medical circle around James VI and I. The thesis concludes by considering the retreat he made from Europe and London to his home in Aberdeen, and looks briefly at one of the small poems he wrote in 1623-24. Throughout, themes emerge of Johnston’s irenic preferences, and his response to the disturbance to intellectual life brought about by Calvinist division, and by the crisis heralded by the Bohemian Revolt.

This dissertation presents a previously unedited text by one of the most distinguished- yet neglected-Latin writers of the Italian Renaissance, Ercole Strozzi (1471-1508), a poet and administrator in the court of Ferrara. Under the Este Dukes, Ferrara became a major center of literary and artistic patronage. The Latin literary output of the court, however, has received insufficient scholarly scrutiny. The text is a verse funeral elegy of Eleonora of Aragon (1450-1493), the first Duchess of Ferrara. Eleonora was a remarkable woman whose talents and indefatigable efforts on behalf of her husband, her children, and her state, won her accolades both at home and abroad. She also served as a prototype for the remarkable careers of her two daughters, Isabella d'Este, and Beatrice d'Este, who are celebrated for their erudition and patronage of arts and letters. The text is a mirror of the Estense court and reveals to us how its members no doubt saw themselves, at the very peak of its temporal power and the height of its prestige as a center of cultural creativity. It is also important for the striking portrait it presents of Eleonora. Ercole Strozzi chose to call his poem an epicedium, an ancient minor literary genre that had received attention in the two decades prior to its composition, due to the discovery and printing of the silver age Roman poet Statius, whose text includes several epicedia. Strozzi deftly adapts and transcends both his ancient and contemporary models (especially Poliziano), and in the process, creates a new Latin literary genre, the Renaissance epicedium. It is a fine poem, full of both erudition and creativity, and as such is the first fruits of what would be Ercole Strozzi's illustrious poetic career. The work is genuinely worthy of study on both esthetic and historical grounds.

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.

Esta tese trata da obra poética neolatina publicada em Lyon, França, nos anos de 1539 e 1540, pelo humanista português Antônio de Gouveia, consistindo em duas centenas de epigramas e mais quatro cartas de amor em versos. Foram feitos o estabelecimento do texto latino, com o cotejo de diferentes edições, e a tradução para o português, acrescida de notas e comentários. Foram feitas diversas análises, de cunho poético, para examinar os procedimentos estilísticos de composição da obra e para verificar a presença da literatura clássica no texto renascentista. A existência de duas diferentes edições da poesia epigramática propiciou o exame e a interpretação de algumas das alterações introduzidas pelo poeta lusitano. Inclui-se, ainda, um capítulo sobre a vida de Antônio de Gouveia, enfocando, principalmente, sua formação humanística e sua circulação nos meios artísticos e acadêmicos da Renascença européia. / This thesis deals with the Neo-Latin poetic work published by Antônio de Gouveia, Portuguese humanist, in Lyon, France, in the years 1539 and 1540, consisting of two hundred epigrams and four love letters in verse. The thesis includes the comparative edition of the Latin text, with critical apparatus, and the translation of it into Portuguese, with notes and comments. It also includes a poetic analysis, in order to examine the stylistic procedures of the composition of the work, and to verify the influence of classical literature on this Renaissance text. The existence of two different editions of the epigrammatic poetry permitted the examination and interpretation of some changes made by the Portuguese poet. The thesis also has a chapter about the life of Antônio de Gouveia, focusing his humanistic education and his movement in the artistic and academic circles of European Renaissance.

Esta tese trata da obra poética neolatina publicada em Lyon, França, nos anos de 1539 e 1540, pelo humanista português Antônio de Gouveia, consistindo em duas centenas de epigramas e mais quatro cartas de amor em versos. Foram feitos o estabelecimento do texto latino, com o cotejo de diferentes edições, e a tradução para o português, acrescida de notas e comentários. Foram feitas diversas análises, de cunho poético, para examinar os procedimentos estilísticos de composição da obra e para verificar a presença da literatura clássica no texto renascentista. A existência de duas diferentes edições da poesia epigramática propiciou o exame e a interpretação de algumas das alterações introduzidas pelo poeta lusitano. Inclui-se, ainda, um capítulo sobre a vida de Antônio de Gouveia, enfocando, principalmente, sua formação humanística e sua circulação nos meios artísticos e acadêmicos da Renascença européia. / This thesis deals with the Neo-Latin poetic work published by Antônio de Gouveia, Portuguese humanist, in Lyon, France, in the years 1539 and 1540, consisting of two hundred epigrams and four love letters in verse. The thesis includes the comparative edition of the Latin text, with critical apparatus, and the translation of it into Portuguese, with notes and comments. It also includes a poetic analysis, in order to examine the stylistic procedures of the composition of the work, and to verify the influence of classical literature on this Renaissance text. The existence of two different editions of the epigrammatic poetry permitted the examination and interpretation of some changes made by the Portuguese poet. The thesis also has a chapter about the life of Antônio de Gouveia, focusing his humanistic education and his movement in the artistic and academic circles of European Renaissance.

Bien qu’il ait inspiré des contemporains plus célèbres, tels François Rabelais et Clément Marot, et fréquenté des humanistes de premier plan, bien qu’il soit l’auteur d’une forme de tragédie latine inédite et maintes fois rééditée, et d’une chronique du règne de Louis XII connue des historiens, le poète néo-latin Nicolas Barthélemy de Loches est resté parfaitement méconnu. Il est ainsi nécessaire de rassembler, corriger et compléter les données dont on peut disposer sur ce personnage et ses oeuvres, mais aussi de reconstituer le cadre social, littéraire et historique dans lequel il a vécu et composé, afin de réévaluer la diversité et la richesse poétique de ses oeuvres. Ces données suffisent à montrer que les écrits de Barthélemy ne sont pas ceux d’un moine cloîtré, mais bien plutôt ceux d’un véritable humaniste engagé dans les réformes de son temps, qu’elles soient pédagogiques, monastiques ou évangéliques. L’édition d’un des recueils poétiques de Barthélemy les plus représentatifs de sa production littéraire (le recueil varié paru à Paris en 1520) vient nourrir et confirmer cette lecture. / Although he inspired famous contemporaries like François Rabelais or Clément Marot, and spent time with leading humanists, although he wrote a new Latin tragedy form many times reprinted and a chronicle about the reign of Louis XII familiar to historians, very little is known about the Neo-Latin poet Nicolas Barthélemy de Loches. Collecting, correcting and completing existing data about the man and his writings is necessary, as well as the reconstruction of the social, literary and historical environment in which he lived and wrote, in order to reevaluate the poetic diversity and richness of his work. Such data are enough to show that Barthélemy’s works were not written by a cloistered monk, but rather by a true humanist involved in the pedagogical, monastic and evangelical reforms of his time. The edition of one of the most representative poetic collections written by Barthélemy (a varied collection printed in 1520 in Paris) supports and confirms this interpretation.