Third, a real tragedy must be introduced upon the lyric theatre.

Finally, the dance must be brought within the forms of a true poem.
The only remark to be made upon this scheme touches the second article of it.

To urge the substitution of types of classes for individual character was the very surest means that could have been devised for bringing back the conventional forms of the pseudo-classic drama.

The very mark of that drama was that it introduced types instead of vigorously stamped personalities.

What would be gained by driving the typical king off the stage, only to make room for the generalisation of a shopkeeper?
This was not the path that led to romanticism, to Andre Chenier, to De Vigny, to Lamartine, to Victor Hugo.