This work reconstructs the links between the tragic and heroic works of Gianvincenzo Gravina, Saverio Pansuti, Annibale Marquis and the political and military events of the early eighteenth century, from the War of Spanish Succession to the Hapsburg Viceroyalty (1707-1734). Unlike the critics, Gravina (who resided in Rome but was an active presence in Naples) notes the importance given to the theatre since Della Ragion Poetica, even noting in his Lettera a un amico how he sees the incumbent return to tragedy as one of the causes of the Arcadian division. The author insists upon the connection instilled by Gravina between law, Latin culture and theatre, as well as the political value attributed to tragedy, even highlighting the same intents within the tragedies of Pansuti. In a transposed manner, these depict the legend, expectations, and disappointments that arose following the conspiracy of Macchia in 1701 against the house of Austria (of which Pansuti himself was among the main architects). But while Gravina and Pansuti elaborate upon the Italic myth of Prince Eugene (a figure hidden among many of their tragic characters), Marchese, on the other hand, alludes to the pairing of Eugene and Charles, above all emphasizing the legend of the house of Austria as the legitimate heir to the Empire. Another fundamental work is the dialogue Belvederius sive Theatrum by Gennaro Parrino, the son of one of Naples’ most famous printers, whose printing presses were even used to bring to light the works of Pansuti. In the dialogue, Pansuti plays a leading role alongside Caloprese, Gravina and Andrea Belvedere, placing philosophy, theatre, and legal matters at centre stage.