Poet and French playwright, born in Rouen in 1632 and died in Paris in 1698. Author of little inspiration and literary achievements of very limited consistency, would have not gone to the history of French literature of the baroque of not having staged a noisy polemic with the great Star of the scene at the time Jean Racine (1639-1699), who dared to rival premiering his Phèdre et Hippolyte (Phaedra and Hippolytus, 1677) when just to tables the great Phèdre (Phaedra1677), perhaps the masterpiece of Racine.
After being ousted from the top of the French of mid-century theatre 17TH to Pierre Corneille (1606-1684) - another unquestioned master of the art of Talia-, Racine had taken over the theatrical Scepter in France before the despair of the still numerous hardcore followers of the dramaturgy of the veteran writer, who urged her favorite author to respond, on the tablesto the exceptional version of Phaedra, who knew he/she was drafting the new Idol of the French public. But Corneille, who had already left malparado in the confrontation between its Tite and Bérénice (1670) and the Bérénice (1670) of Racine, and had also seen how his young rival undertook a dazzling ascent to Parnassus with the premieres of other tragedies such as Bajazet (1672), Mithridates (1673) and Iphigenia (1674), decided to move discreetly away from a confrontation that does not benefit you at all; This attitude despaired to his supporters - many of whom were, before his followers, archenemies of Racine, who had to desperately search for an author who is not afraid to deal with the new monster of the scene, dealing with the same themes and genres that were present in the works announced by Racine.
It was as well as the enemies of the young teacher captured for their cause to the mediocre Jacques Pradon, who reaped a success so noisy as ephemeral with the premiere of his Phaedra and Hippolytus, jaleada initially exaggerated by those who believed that so undermined the newly released Fedra of Racine; but soon it began to see that this fictional triumph of Pradon only responded to the tireless support of the detractors of Racine, who, when they got tired of attending mass, again and again, the representations of Phaedra and Hippolytus, revealed that Jacques Pradon was far from possessing precise powers and inspiration to fill the vacancy left by Corneille. Despite this, endeavored playwright presented a tough battle to Racine, with whom he/she also had a violent struggle-based satirical and burlesque sonnets who came to slide - by one and another side - down the rough path of the offense and the offense.
As anecdotal data, and to Jacques Pradon is not only remembered for his forced, ephemeral and frustrated rivalry with Jean Racine, include the titles of other tragedies his Pyrame et Thisbee (Pyramus and Thisbe, 1674), Tamerlan ou mort de Bajazet (Tamerlane or the death of Bayezid, 1675) and the troad (1679).