Abstract
The article deals with the question of literary creation seen from the angle of rewriting and mise en abyme in two of Corneille's comedies in the program (Le Menteur, La Suite du menteur). These comedies indeed welcome numerous allusions, repetitions, reformulations, quotations and self-citations, either to other plays by Corneille (like Le Cid) or to a previous word of this or that character (notably in the game of meta-comments done by the valets on the words of the masters), or finally between the pieces themselves, in a system of diptych and new transtextual anaphora : so many sources of a new form of comedy and intellectual complicity with the reader-spectator. The approach, more stylistic than literary, is focusing on the internal generic tensions induced by these dialogical mechanisms from which Corneille draws interesting effects, which participate in an innovative reflection on the genre of comedy and, in turn, in a mixture of celebration and self-deprecation, to a form of paradoxical praise of his literary creation.