ABSTRACT
Many of the Greek passages which Racine most clearly picks up in La Thébaïde are in fact marked with either pencil or ink or both. The greater part of the scene's conflict in Racine, though, is between Polynice and Jocaste, as she attempts to cajole, reason or morally blackmail her son(s) into coming to some agreement. That part of the scene s design owes more to Rotrou than to Euripides. The prominence given to Jocaste's doomed campaign of dissuasion, however, may nonetheless reflect something of Racine's attention to Jocasta's maternal role in Euripides: in fact in several places her part in IV. iii echoes passages of her Greek role marked by Racine. The case of Racine's annotations on Iphigenia in Aulis is at once simpler and leaves more to say. Racine marked this play in both the Aldine and the Stephanus editions.
