`titrebThe Beginnings of Tragedy : the Reference to Antiquity in 16th Century French Paratexts`/titrebThe first French playwrights modelled themselves on Greek and Roman Antiquity. Grévin recommends the imitation of the three Greek tragedians, and Sénèque. Like Rivaudeau, he sees them as a treasure which it is legitimate to dig in. Sébillet, on the other hand, does not exclude modern playwrights form worthy of imitation. Several texts refer to the way drama was actually performed by the Ancients. Thus, Charles Estienne informs us of his readings and archaeological observations, while Grévin presents his observations regarding the relations between theatre and power. In the same way, Sébillet measures the gap between his elitist contemporary theatre, and that of Antiquity, grounded in the people and perfect in nature. In addition, paratexts define tragedy as a warning to the powerful. Lazare de Baïf, Charles Estienne and Sébillet liken the form to morality plays, which are also didactic in intention. But theses texts are at times purely technical. Henri de Barran is satisfied with taking up for his own uses the division of Greek plays into acts. The issue of unity of time and of action also concerns a number of authors. Grévin however points out that the first Greek tragedies did not try to follow rules. These turn out to originate with Horace : plays must be divided into acts, there can only be three characters on stage at a time, horror cannot be represented on stage and the chorus is a suitably vocal conscience. Grévin and Rivaudeau, however, want plays to advicate for the French language, while the religious issue is articulated : true to Calvin, Bèze links it to aesthetic issues and refuses to imitate Greek tragedy in that respect : he rejects the chorus and kind of sophisticated poetic language. The pagans have nothing to teach us save their errors... and playwrights and audience alike must pray to God and find inspiration in the Old Testament.