Abstract: Tristan shows a real attachment to the collective dimension of the tragic chorus in the sixteenth century. It is expressed in his work by the presence, variable but nevertheless recurrent, of a character endowed with the choral function that his forebear was responsible for. From La Mariane to Osman, via La Mort de Sénèque, the playwright thus manages to stage the opposition between the norm and its opposite, and to produce pathos conducive to moving the audience.
