Abstract: This article proposes a new avenue for exploring the last tragedy of Tristan L’Hermite, Osman, to show that the author, while casting the source story in a mold perfectly in tune with the dramaturgical customs of his time, distinguishes himself by choosing to treat the romantic passion in a completely original way, which may have been suggested by the biography of his protector, the duke of Orleans. Tristan is thus a contemporary of Corneille and Gaston rather than a precursor to Racine.
