French Literature Reviews - 2026

Benserade, Iphis et Iante
Theatre and Performance

Isaac de Benserade, Iphis et Iante, comedy, 1634
Edited by Anne Verdier in collaboration with Christian Biet and Lise Leibacher Ouvrard
Beaulieu, Lampsaque, December 2004, "studiolo-théâtre" series

"Iphis marries Iante". Yes, but... Iphis is a girl disguised as a boy since birth, and Iante has no idea.

The actors of the Hôtel de Bourgogne performed this comedy by Benserade for the first time in 1634, right in the heart of the 1630–1640 decade, just as Richelieu was openly showing his taste for theater and authors were playfully exploring new paths, before yet being subjected to the strict rules of the critics.

Against this backdrop, Benserade (1612–1691) takes certain liberties with Ovid's well-known tale familiar to his contemporaries, leading his heroines all the way to marriage and their wedding night, which they recount on stage with remarkable sincerity. The 17th century is not entirely what we might assume.

This second edition (for the first, see Lampsaque, 2000) features a critical apparatus enriched with numerous appendices that firmly anchor the play within the cultural history of its time, along with the prompt book and staging notes from its 2001 premiere. It demonstrates how a 21st-century theater can draw inspiration from historical works whose themes remain deeply relevant today.

The early decades of the seventeenth century in France were characterized by theatrical experimentation before classical doctrine imposed stricter formal constraints upon playwrights. Isaac de Benserade occupied a notable place in this literary landscape, participating in the culture of performance associated with troupes such as those at the Hôtel de Bourgogne. This edition, prepared by Anne Verdier with contributions from Christian Biet and Lise Leibacher Ouvrard Beaulieu, follows an earlier appearance published by Lampsaque in the year 2000.

This volume presents the text alongside a critical apparatus and appendices that connect the play to the broader cultural history of its era, while also incorporating prompt books and staging notes from its 2001 modern premiere. Readers interested in early modern French comedy, the reception of classical mythology on the seventeenth-century stage, or the history of theatrical performance practices may find this publication relevant to their inquiries.