No one could be better fitted than Grétry for the development of such a style as this.[38] His was a pliant and amiable nature, but not a great one. He was excitable and susceptible to any emotion, but without depth; his wit was delicate and versatile, and he possessed the power of giving it the most striking and appropriate expression. He was determined that his music should always faithfully render some definite emotion, even to the minutest detail of the dramatic situation and characters. He held that a composer could only attain this end by working himself up into a pitch of intense excitement,[39] and living for the time in the drama that was under his hands.[40] The actual means which he employed was song, that is, melody. He learnt the art of tuneful song from the Italians,[41] and made its expressiveness depend upon intonation in delivery, which it is the composer's part to suggest and control.[42] He laid great stress upon true and strongly accentuated declamation,[43] which he had studied under good actors.[44] This lent a liveliness and piquancy to his musical style,[45] and rendered it essentially French.[46] {FRENCH OPERA.} (16) Grétry accomplished wonders for musical form, as far as grace and freshness, lively emotion and wit go, but his powers did not attain to anything truly great or important to art. The art of melodious expression was developed by him almost to the exclusion of other means, such as rich and well-chosen härmonies,[47] artistic accompaniments, and instrumental effects, all of which he treated as subordinate and unimportant.