Buffon, in his Discourse on Style, insisting on the unity of design, arrangement, and execution, which are the stamps of true classical works, said:--"Every subject is one, and however vast it is, it can be comprised in a single treatise. Interruptions, pauses, sub- divisions should only be used when many subjects are treated, when, having to speak of great, intricate, and dissimilar things, the march of genius is interrupted by the multiplicity of obstacles, and contracted by the necessity of circumstances: otherwise, far from making a work more solid, a great number of divisions destroys the unity of its parts; the book appears clearer to the view, but the author's design remains obscure." And he continues his criticism, having in view Montesquieu's Spirit of Laws, an excellent book at bottom, but sub-divided: the famous author, worn out before the end, was unable to infuse inspiration into all his ideas, and to arrange all his matter. However, I can scarcely believe that Buffon was not also thinking, by way of contrast, of Bossuet's Discourse on Universal History, a subject vast indeed, and yet of such an unity that the great orator was able to comprise it in a single treatise. When we open the first edition, that of 1681, before the division into chapters, which was introduced later, passed from the margin into the text, very thing is developed in a single series, almost in one breath. It might be said that the orator has here acted like the nature of which Buffon speaks, that "he has worked on an eternal plan from which he has nowhere departed," so deeply does he seem to have entered into the familiar counsels and designs of providence. Are Athalie and the Discourse on Universal History the greatest masterpieces that the strict classical theory can present to its friends as well as to its enemies? In spite of the admirable simplicity and dignity in the achievement of such unique productions, we should like, nevertheless, in the interests of art, to expand that theory a little, and to show that it is possible to enlarge it without relaxing the tension. Goethe, whom I like to quote on such a subject, said:-- "I call the classical healthy, and the romantic sickly. In my opinion the Nibelungen song is as much a classic as Homer. Both are healthy and vigorous. The works of the day are romantic, not because they are new, but because they are weak, ailing, or sickly. Ancient works are classical not because they are old, but because they are powerful, fresh, and healthy. If we regarded romantic and classical from those two points of view we should soon all agree."