Abstract:La Mariane (1636), La Mort de Sénèque (1644) and Osman (1646–1647) are part of a theatrical field characterized by the rebirth of tragedy on the professional Parisian stage and the diversification of tragic subjects and configurations. Although Tristan L’Hermite participates in this movement and holds an ongoing dialogue with his contemporaries and their works, he also produces a singular body of work, marked by the haunting presence of tragic indicators specific to him.
