Recognition is essentially theorized by Aristotle about the tragedy. In comedy, recognition assumes only a secondary role. In both genres, it is essentially dependent on the final dénouement. In the eighteenth century, the authors have been interested in this dramatic principle which they have used massively in the new dramatic genres born in that century. Marivaux, Destouches, Nivelle de La Chaussée, Diderot, Mercier and Beaumarchais have all transposed the Aristotelian notion of anagnorisis in their plays. The differences with the theoretical basis enabled by Poetics and the place of recognition in classical theater are obvious. Being no longer necessarily linked to dénouement, recognition in the new comedies is concerned with all stages of the action. The authors claim the use of this dramatic principle despite the heavy bias against it, as well as they claim the use of the pathetic as a new way to explore drama. Recognition scenes are symptomatic of this desire to go beyond the strict division of gender, as they reflect new aspirations and new pathways for drama to explore. They provide information on the renewal of forms and new kinds of challenges facing the new genres, while embodying the Enlightenment project aiming, above all, to create a relationship that is both intimate and solid with the viewer. Now it is the efficiency of the dramatic effect that conditions the success of new genres and the efficient transmission of the moral, philosophical and political messages which recognition that tries to convey.
