Abstract
The revival of the pastoral genre is a parodic perspective, in the Anti-Roman (1633-1634) imposed a double restriction on the author with regard to the inventio even for nominal categories. The choice of names had to respect the literary tradition of the genre and the parodic intent be justified in the fiction by the madness of the protagonist. The pseudonyms attributed to the characters in the Berger are taken from the repertoire of pastoral and heroic-sentimental hypotexts that Sorel reuses in parodic perspective. Thus, neology was the easiest tool to indicate intertextual reference to literary works of the same type or, on the contrary, to refer to reality.