one of the major French Neoclassical playwrights of the first half of the 17th century. He shares with Pierre Corneille the credit for the increased prestige and respectability that the theatre gradually came to enjoy in Paris at that time.

Rotrou wrote his first play, the comedy L'Hypocondriaque (“The Hypochondriac”), before he was 20. He soon won Cardinal de Richelieu's support and became house dramatist at the Hôtel de Bourgogne, the most important theatre in Paris. Rotrou's best plays owe much of their vigour and exuberance to the tradition of the tragicomedy, the favourite dramatic form in the 1630s. For his tragedies, Rotrou, like Corneille, favoured stories about characters who must resolve moral conflicts within themselves; these works are marked by closely knit plots and powerful rhetoric. But in Le Véritable Saint-Genest (1647), for example, Rotrou also showed an interest in illusion and surprisingly violent change, characteristics typical of Baroque drama. Rotrou's best-known tragedies are Venceslas (1648) and Cosroès (1649).