The weaker side of the romantic school is apparent in the theatre. It put forth a magnificent programme of dramatic reform, which it was unable to carry out. The preface to Victor Hugo's _Cromwell_ (1827) is the earliest and the most important of its manifestoes. The poetry of the world's childhood, we are told, was lyrical; that of its youth was epic; the poetry of its maturity is dramatic. The drama aims at truth before all else; it seeks to represent complete manhood, beautiful and revolting, sublime and grotesque. Whatever is found in nature should be found in art; from multiple elements an aesthetic whole is to be formed by the sovereignty of imagination; unity of time, unity of place are worthless conventions; unity of action remains, and must be maintained. The play meant to exemplify the principles of Hugo's preface is of vast dimensions, incapable of presentation on the stage; the large painting of life for which he pleaded, and which he did not attain, is of a kind more suitable to the novel than to the drama. _Cromwell_, which departs little from the old rules respecting time and place, is a flux and reflux of action, or of speeches in place of action, with the question of the hero's ambition for kingship as a centre; its personages are lay figures draped in the costumes of historical romance. The genius of Hugo was pre-eminently lyrical; the movement to which he belonged was also essentially lyrical, a movement for the emancipation of the personal element in art; it is by qualities which are non-dramatic that his dramas are redeemed from dishonour. When, in 1830, his _Hernani_ was presented at the Theatre Francais, a strange, long-haired, bearded, fantastically-attired brigade of young supporters engaged in a melee with those spectators who represented the tyranny of tradition. "Kill him! he is an Academician," was heard above the tumult. Gautier's truculent waistcoat flamed in the thickest of the fight. The enthusiasm of Gautier's party was justified by splendours of lyrism and of oratory; but Hugo's play is ill-constructed, and the characters are beings of a fantastic world. In _Marion Delorme_, in _Le Roi s'amuse_, in the prose-tragedy _Lucrece Borgia_, Victor Hugo develops a favourite theme by a favourite method--the moral antithesis of some purity of passion surviving amid a life of corruption, the apotheosis of virtue discovered in a soul abandoned to vice, and exhibited in violent contrasts. Marion is ennobled by the sacrifice of whatever remains to her of honour; the moral deformity of Lucrece is purified by her instinct of maternal love; the hideous Triboulet is beautiful by virtue of his devotion as a father. The dramatic study of character is too often replaced by sentimental rhetoric. _Ruy Blas_, like _Marion Delorme_ and _Hernani_, has extraordinary beauties; yet the whole, with its tears and laughter, its lackey turned minister of state, its amorous queen, is an incredible phantasmagoria. _Angelo_