Abstract: We explore the treatment reserved for the rhetorical construction of speeches in Tristan L’Hermite’s tragedies from a twofold perspective. We show that this treatment is not uniform in the three plays, that it evolves and seems to cover the trajectory of an author writing on various subjects, and we point out the metadiscursive debates that the art of discourse raises and the contrapuntal effects that it generates at the level of the line, the scene, or the act.
