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This article aims to demonstrate the theoretical effectiveness of jealousy in revisiting the parallel between Racine and Corneille. Jealousy in its various forms, specifically the interweaving of emulatory scenes, reveals the importance of linkage in Racine’s poetics, as opposed to Corneille’s dream of autonomy. Berenice, the epitome of their rivalry, and the particular case of Antiochus, Titus’s harmless adversary, outline an allegorical or phantasmatic relationship between Racine’s theatrical universe, populated by jealous figures, and his obsession with linking his posterity to the glory of his father—and “enemy brother”. Irreducible to an extra-literary device, and equally resistant to a purely self-referential mechanism, jealousy interrogates our critical reflexes and sheds new light on Racine’s writing.