ABSTRACT
This conclusion presents some closing thoughts on the concepts discussed in the preceding chapters of this book. The book discusses some of the great range of Alexis Piron's writing, and his ability to adapt to any form he adopts. Indeed, his very first play, Arlequin-Deucalion, represents a tour de force in a genre that his contemporaries writing for the Fairs were unwilling to attempt. Despite signs of initial reluctance in L'Antre de Trophonius, with its very small number of couplets, he also showed himself more than capable of challenging those authors on their own ground in the field of opéra-comique. The way the plays adapt their sources, be they the parodies, those opéras-comiques that are based on other works, La Métromanie, or the tragedies, also gives us insight into both Piron's ideas of dramaturgy and the aspects of the originals that interest him.
