This play touches on female homosexuality in the form of cross-dressing, which was a commonplace in French literature in the 17th century.

[2] Benserade provided the words for the court ballets and was in 1674 admitted to the French Academy, where he wielded considerable influence.

In 1675, he provided the quatrains to accompany the 39 hydraulic sculpture groups depicting Aesop's fables in the labyrinth of Versailles.

In 1676, the failure of his Métamorphoses d'Ovide in the form of rondeaux gave a blow to his reputation but by no means destroyed his vogue with his contemporaries.

The sonnet, which he sent to a young lady with his paraphrase on Job, was placed in competition with the Urania of Voiture and led to a dispute on their relative merits that long divided the whole court and the wits into two parties, styled respectively the Jobelins and the Uranists.