But to dramatic life and movement it was necessary that order, discipline, regulation should be added. The rules of the unities were not observed by Hardy--were perhaps unknown to him. But they were known to others. Jean de Schelandre (the pseudonym formed from the letters of his name being Daniel d'Ancheres), in his vast drama in two parts, _Tyr et Sidon_, claimed all the freedom of the mysteries in varying the scene, in mingling heroic matter with buffoonery. In the edition of 1628 a preface appears by Francois Ogier, a learned churchman, maintaining that the modern stage, in accordance with altered circumstances, should maintain its rights to complete imaginative liberty against the authority of the Greeks, who presented their works before different spectators under different conditions. Ogier's protest was without effect. Almost immediately after its appearance the _Sophonisbe_ of Jean de Mairet was given, and the classical tragedy of France was inaugurated on a popular stage. In the preface to his pastoral tragi-comedy _Sylvanire_, Mairet in 1631 formulated the doctrine of the unities. The adhesion of Richelieu and the advocacy of Chapelain insured their triumph. The "rules" came to be regarded as the laws of a literary species. The influence of the Spanish drama, seen in the writings of Rotrou and others, might be supposed to make for freedom. It encouraged romantic inventions and ambitious extravagances of style. Much that is rude and unformed is united with a curiosity for points and laboured ingenuity in the dramatic work of Scudery, Du Ryer, Tristan l'Hermite. A greater dramatist than these showed how Spanish romance could coalesce with French tragedy in a drama which marks an epoch--the _Cid_; and the _Cid_, calling forth the judgment of the Academy, served to establish the supremacy of the so-called rules of Aristotle.