The French theatre in the 17th century / The Comedy       The Comedy At the beginning of the 17th century comedy is not very widespread in France, whereas tragedy and especially tragicomedy are favoured by the public. In fact, it seems that the authors and audience cannot envisage a comedy detached from the traditions of the Latin comedy and farce, that are still very popular. It must be noted that the genres are not completely defined, and comic elements are also found in tragicomedy and in the pastorale. The writers of the time, such as Pierre Corneille, Rotrou, Mairet or Scarron, attempt to introduce new forms of comedy. They draw the first outlines of the comedies of plot and the comedies of manners intended to differ from the romantic tragicomedies. Around 1630 comedy is still rare, even though some plays, today forgotten, include very rich comic content. It nevertheless begins to be seen, especially with the introduction of the Spanish comedies which stimulate creativity and renew the genre. The reasons for the public's lack of enthusiasm are various. On the one hand, comedy is often devoted to common topics and ordinary characters, whereas tragedy is reserved for heroes and noble passions. But the religious authorities find it dangerous, and above all do not appreciate laughter. By asserting that it lacks Christian charity, the Church condemns it and even qualifies it as diabolic. Comedy is not therefore, by its very definition, in good standing with the righteous. In this context, one can imagine the upheaval brought about by Molière when he introduces a new style of comedy to the French stage. Not only does he build his plays on new topics and subject matter which were previously absent, but he displays an exceptional audacity by above all daringly making laughter the key element of his plots. From 1659 he widens considerably the sphere of comedy with his first Parisian production Les précieuses ridicules. Behind a farcical disguise and a lively plot, the choice of subject is not insignificant. It stages a social reality and a topicality that awaken the curiosity of the public so that its success is immediate. This comedy touches on very serious matters under the cover of an apparent buffoonery but the Cabal is not fooled, and violently attacks Molière. He is not intimidated and carries on regardless, extending his topic in his three following comedies Les Précieuses, L'École des maris, and L'École de femmes. The latter, greatly appreciated, triggers a virulent debate and a long quarrel between Molière and his growing number of enemies (the ridiculed socialites, the religious and jealous colleagues, etc.). In particular these attacks reveal the underlying questions posed by the comedies of Molière. For the morality of the time, comedy is not suitable to treat serious topics, as by so doing it devalues them and opens them to ridicule. Molière reacts to this narrow concept by, on the contrary, aiming to widen the field of the topics covered by comedy. He holds great ambitions for it, and by his genius he demonstrates to his contemporaries all the uncharted possibilities contained in this genre. Thus he radically transforms the French stage and the “ Great Comedy ” is born, reaching its final form during the classic period.