John D. Lyons examines some of the most canonical works of the seventeenth-century Golden Age: Corneille’s Le Cid (1637) and Rodogune (1644–45), and Racine’s Britannicus (1669) and Phèdre (1677), proposing that the decisive actions of these plays often hinge on what women say, or do not say. This is far from surprising since these works are contemporaneous with two important interrelated cultural developments in the public lives of women: increasingly, they hosted Parisian salons and gaining increased importance in the political, cultural and social spheres; and in a century that witnessed attempts to standardize and refine the French language, these salons run by women became virtual workshops for formulating rules of discourse for a worldly, non-pedantic society. Tragedies from this period, perceived as the dramatic representation of the lives of kings, queens and princes, simultaneously display the sharp contrast between what can women say in public, what they conceal owing to the constraints on what they are allowed to say, and their awareness that what they say in public can have fatal consequences. These tragedies enable an appreciation of the aptness of Roland Barthes’ assertion that language, more than death, is the core of the tragic.