The French theatre in the 17th century / The Spanish Comedy in France       The Spanish Comedy in France The literary and theatrical works of the vibrant Spanish Golden Century incontestably influenced the 17th century French theatre. In 1629 Rotrou, is the first to adapt a play by Lope de Vega entitled Sortija del Olvido that becomes “ La bague de l'oubli ” (The Ring of Forgetfulness). This style of comedy renews the genre in France, by borrowing from the Spanish Comedia which uses comic techniques different to those employed in farce. Subsequently Le Métel d'Ouville truly introduces the Spanish theatre to France. Familiar with Spain after spending seven years there, he produces for the French stage, plays by Calderon, Lope de Vega and Montalvan. His brother the Abbé de Boisrobert, follows him drawing on the comedias by the same authors to which he adds Tirso de Molina and Rojas. The Spanish comedy then becomes very fashionable and Scarron is the one that probably served it best. However, it is very often only an adaptation of the original comedias. The French authors revise them, suppressing some scenes, discarding what seems too extreme but keeping the chance encounters, amusing misunderstandings, piquant characters and events. Above all they wish to please the public. This is particularly easy as the romantic and picturesque nature of these radically different works match the mood of the moment so precisely. The relationship between Pierre Corneille and the Spanish theatre is deeper and longer lasting; it even becomes reciprocal. With “ Le Menteur ” (The Liar), he adapts La Verdad sospechosa by Ruiz de Alarcon, then he borrows an act from the Palacio confuso co-written by Lope de Vega for his Dom Sanche d'Aragon and he translates the comedia entitled Las Mocedades del Cid by Guillen de Castro in three days for Le Cid. But in turn Calderon imitates him and his comedy En Esta Vida todo es verdad y todo mentira comes from Corneille's “ Dans cette vie, tout est vérité et tout est mensonge ” (In this life all is truth and all is lies). Between these two authors, there exists a reciprocity which gives priority to plots founded on error and lack of self-awareness. Molière is also very attracted by the comedia and the inventory of his library shows he possessed numerous plays by the Spanish authors. Besides, if the Italian comedians appear in the Parisian theatres, the Spanish comedians of the troupe of Joseph de Prado, supported by Queen Marie-Thérèse, also perform alternately at the Hôtel de Bourgogne from 1660 to 1673 with Molière appearing at their side at Royal performances. Molière appreciates the heroic aspect of the Spanish comedies and makes his own adaptation in 1661, with Dom Garcie de Navarre. However, he does not persist in this vein because the tone is too “ serious ” and is not to the taste of a public which distinctly prefers his comic talent.