He would not allow a comparison between the conventional classic of the French stage and the works of the Greek stage.

He insisted in the case of the Greeks that their subjects are noble, well chosen, and interesting; that the action seems to develop itself spontaneously; that their dialogue is simple and very close to what is natural; that the denouements are not forced; that the interest is not divided nor the action overloaded with episodes.

In the French classic he found none of these merits.

He found none of that truth which is the only secret of pleasing and touching us; none of that simple and natural movement which is the only path to perfect and unbroken illusion.

The dialogue is all emphasis, wit, glitter; all a thousand leagues away from nature.