Abstract: This article considers the individual features of the three plays under examination (La Mariane, La Mort de Sénèque and Osman) whilst also attempting to uncover notions of shared aesthetics that might define a theoretic model specifically applicable to Tristan L’Hermite. The first of these plays is a love-passion tragedy marked by the Italian-style rhetoric upon which the author draws elsewhere in his love poetry. The second is a conspiracy tragedy to which a new dimension is added by the presence of the philosopher character. The third leans towards the blood-thirsty gore that is often typical of oriental tragedy. Beyond the diversity of such differences, Tristan’s tragi-poetry bears the hallmark of a unique amalgam of theatrical and poetic effects, as well as honing-in techniques, as seen particularly in the reoccurring theme of the portrait.
