In Du Bellay (1549) we find no traces of dramatic theory beyond the injunction, already noted, that the French should substitute classical tragedy and comedy for the old morality and farce. A few years later, however, in Pelletier (1555), there appears an almost complete system of dramatic criticism. He urges the French to attempt the composition of tragedy and comedy. "This species of poetry," he says, "will bring honor to the French language, if it is attempted,"--a remark which illustrates the innate predisposition of the French for dramatic poetry.[354] He then proceeds to distinguish tragedy from comedy much in the same manner as Scaliger does six years later. It is to be remembered that Pelletier's _Art Poetique_ was published at Lyons in 1555, while Scaliger's _Poetics_ was published at the same place in 1561. Pelletier may have known Scaliger personally; but it is more probable that Pelletier derived his information from the same classical and traditional sources as did Scaliger. At all events, Pelletier distinguishes tragedy from comedy in regard to style, subject, characters, and ending in exact Scaligerian fashion. Comedy has nothing in common with tragedy except the fact that neither can have more or less than five acts. The style and diction of comedy are popular and colloquial, while those of tragedy are most dignified and sublime. The comic characters are men of low condition, while those of tragedy are kings, princes, and great lords. The conclusion of comedy is always joyous, that of tragedy is always sorrowful and heart-rending. The themes of tragedy are deaths, exiles, and unhappy changes of fortune; those of comedy are the loves and passions of young men and young women, the indulgence of mothers, the wiles of slaves, and the diligence of nurses.[355]