The purpose of this monograph is to analyze Agustín Moreto and Cabaña's dramatic production as one that shows influences of both neoclassical and baroque precepts. Moreto will thus be seen as a transitional playwright, a fact illustrated by the three plays studied. The analysis will further show that Moreto, due to his Neoclassical inclinations, was popular in France, and compared adaptations to the sources. Finally, the monograph will focus on the portrayal of the heroines and its implications for female roles.

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This is a rich collection of essays on French comic drama of the period from the renewal of comic drama in the 1640s to the eve of the French Revolution. The book offers exciting new studies of individual works and authors, while giving full consideration to broader issues. Major authors (such as Molière, Marivaux and Beaumarchais) are treated alongside authors who, while famous in their day and instrumental in the development of the genre, have lesser reputations today. The collection reveals the continuities, variations and new departures in the diverse comic traditions of the period in the different Paris theatres, including both the officially recognised Comédie-Française and Comédie-Italienne and the independent commercial Fair companies.

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