On 21 November 1670, Parisian spectators could watch Racine's Bérénice at the Hôtel de Bourgogne and, a week later, attend the premiere of Corneille's Tite et Bérénice at the Palais Royal, as the playwrights and their troupes vied for box office success. Despite Racine's victory, scholarship on the playwrights has minimized the importance of this duel as just one among many guerres comiques. This essay argues that the comedy, Tite et Titus ou Critique sur les Bérénices, published anonymously in 1673, enables a better understanding of how the duelling plays were a defining experience for both playwrights. The comedy stages Racine's Titus and Corneille's Tite, who come before the god Apollon in judgment, accusing one another of impersonation. Understanding the allegory of the Parnasse trial renders visible the stakes of the Bérénice duel and illustrates the changing reception of the tragic genre in the last quarter of seventeenth-century France.

1670年11月21日，巴黎观众可以在勃艮第大饭店观看拉辛的贝尼妮丝，一周后，在剧团及其剧团争夺票房的成功中，参加科内尔的《蒂蒂与贝妮妮丝》的首映式。尽管拉辛（Racine）取得了胜利，但有关编剧的奖学金却使这场决斗的重要性降至最低，而这场决斗只是众多漫画战争中的一场。本文认为，喜剧《泰特斯与泰特斯》或《Bérénices的评论》，于1673年匿名出版，使人们能够更好地理解决斗剧对两位剧作家的决定性体验。喜剧中的舞台剧是拉辛的提图斯（Ticine）和科尼耶的提特（Tite），他们在阿波罗神面前做出判决，指责对方冒充他人。了解Parnasse审判的寓言，可以清楚地看到Bérénice决斗的利害关系，并说明了17世纪法国最后一个季度对悲剧类型的接受程度不断提高。