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This article discusses the reception of Lope de Vega’s work, specifically of his dramatics compositions, in the French theatre of the XVII Century. As well as presenting the full picture and a description of those Lope’s compositions that have been adapted, this article proposes some methodologic observations related to the difficulty of defining a textual corpus at a period when the practice of imitation does not obey the current standards. Moreover, it stresses the need to take into account the construction of a certain “figure of author” around Lope de Vega, who is considered in France as the highest representative of the Spanish theatre as a whole.